tDtmmmtmmaaititbimmm 

HOD0SON 


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Builders' 
Architectural  Drawing 

SELF-TAUGHT 


CONTAINING  DESCRIPTIONS  OF  DRAWING  INSTRUMENTS  AND 
ACCESSORIES,  WITH  RULES  FOR  USING  THEM,  AND  HINTS  AS  TO 
THEIR  CARE  AND  MANAGEMENT.  RULES  FOR  LAYING  OUT  SIMPLE 
DRAWINGS  AND  EXECUTING  SAME  ARE  GIVEN,  AND  THE  STUDENT  IS 
TAUGHT  STEP  BY  STEP  TO  DRAW  TO  SCALE,  FIRST  THE  PLANS,  NEXT 
THE  ELEVATIONS,  AND  FINALLY  THE  DETAILS  OF  BUILDINGS,  INCLUD- 
ING FOUNDATIONS,  WALLS,  DOORS,  WINDOWS, STAIRS,  AND  ALL  OTHER 
ITEMS  REQUIRED  FOR  FINISHING  IT  COMPLETE  IN  EVERY  PARTICULAR. 


By  FRED  T.   HODGSON 

Author  of  "Practical  Uses  of  the  Steel  Square,"  "Modern  Car- 
pentry" Common  Sense  Stair  Building-  and 
Handrailing."  etc. 


ILL USTRATED 


CHICAGO 
FREDERICK  J.   DRAKE  &  CO.,  PUBLISHERS 


Copyright    1917, 

1916 

and 

1903 

By 

FREDERICK     J 

.     DRAKE 

&    Co. 

Chicago.     111., 

U. 

S.    A. 

PREFACE 

Having  been  more  or  less  interested  in  Archi- 
tecture and  the  building  trades  for  nearly  a  half 
a  century,  I  have  in  that  time  become  acquainted 
with  a  great  many  workmen,  who,  while  filling  a 
subordinate  position,  possessed  aspirations  and 
ambitions,  which,  had  they  had  a  fair  knowledge 
of  drawing  and  geometry,  would  have  lifted  them 
to  the  hightest  place  in  the  department  in  which 
they  labored.  To  give  similar  good  fellows  a 
chance  to  obtain  the  necessary  knowledge  to 
enable  them  to  apply  for  the  better  positions 
with  a  certainty  of  their  being  able  to  fill  them 
with  credit  is  the  motive  which  has  prompted 
the  compilation  of  this  book,  and,  knowing  the 
quality  and  magnitude  of  their  wants,  by 
personal  contact  with  the  workmen  in  the  shop 
and  on  the  building,  I  think  I  am  qualified,  to  a 
large  extent,  to  cull  from  the  vast  treasure  house 
of  industrial  and  technical  literature,  which  added 
to  my  own  experience,  to  present  to  the  work- 
man in  the  simplest  form  possible  the  material 
he  requires  to  help  him  along  in  the  struggle  for 


PREFACE 


better  conditions.  To  attempt  to  write  a  book 
on  the  subject  of  architectural  drawing  and  claim 
for  it  originality,  is  simply  out  of  the  question; 
for  very  little  that  is  original  can  be  said,  indeed 
very  little  is  wanted  to  be  said,  for  the  literature 
now  obtainable  seems  to  cover  every  point  and 
every  phase  of  the  subject. 

It  may  be  asked  then:  "Why  make  another 
book  on  the  subject?"  This  seems  a  just  and 
reasonable  query,  and  one  that  deserves  a  well 
considered  answer,  and  I  will,  to  the  best  of  my 
ability,  endeavor  to  make  such  answer.  First, 
then,  while  admitting  that  all  that  need  be  said 
on  the  subject  has  been  said,  and  better  said  than 
I  can  say  it,  yet,  it  is  so  scattered  and  broken  up, 
a  bit  here,  and  a  bit  there,  that  the  student  for 
whom  this  work  is  prepared  would  require  to 
own  a  gold  mine  to  be  able  to  purchase  all  the 
works  containing  just  what  he  requires;  secondly, 
as  this  work  is  specially  designed  for  active 
workmen  who  have  no  time  to  wade  through 
ponderous  tomes  to  find  what  may  be  a  simple 
matter  after  all,  they  would  probably  be  forced 
to  forego  the  knowledge  if  it  could  not  be 
obtained  in  a  cheap  and  handy  form,  therefore, 
it  is  thought  that  by  gathering  together,  and 
putting  within  reach  of  those  who  want  them,  a 


PREFACE 


series  of  instructions  containing  what  is  con- 
sidered the  most  suitable  to  satisfy  the  require- 
ments I  have  undertaken  to  fill,  and  which  I 
hope  will  prove  satisfactory  to  the  young  work- 
man. Doubtless  there  are  many  things  in  this 
little  work  that,  in  the  opinion  of  many  persons, 
might  be  dispensed  with;  it  may  be,  and  likely  is, 
that  there  are  many  good  things  omitted,  many 
things  that  would  have  proved  extremely  useful, 
but  in  palliation  I  can  justly  say,  that  everything 
I  have  found  on  the  subject,  that  was  plain, 
simple  and  within  the  capacity  of  most  of  the 
persons  this  book  will  reach,  and  that  were  not 
too  extensive,  I  have  made  use  of,  and  to  the 
best  of  my  ability  have  placed  them  before  my 
readers  in  such  language  as  I  am  sure  will  meet 
with  their  approval. 


Plate  1. 

Plate  2. 

Plate  3. 

Plate  4. 

Plate  5. 

Plate  6. 

Plate  7. 

Plate  8. 

Plate  9. 

Plate  10. 

Plate  11. 

Plate  12. 

Plate  13. 

Plate  14. 

Plate  15. 

Plate  16. 

Plate  17. 

Plate  18. 

PLATES 

PAGt 

Eighteen  illustrations 1? 

Plan  of  Cottage 32 

Full  Frame  for  Cottage 48 

Showing  Disposition  of  Joists 64 

Elevation  of  Front  and  End  of  Cottage 80 

Constructive  Details 96 

Showing  Cornice,  and  Roof  Construction 112 

Shows  Plans  of  Windows,  Doors,  etc 138 

Inside  Finish  of  Windows  and  Doors 144 

Elevation  and  Section  of  Finish 160 

Doors  and  Door  Finish 176 

Stairs,  Newels  and  Balusters 192 

Elevation  and  Details  of  Mantel 208 

Elevation  of  a  Book-case 224 

Kitchen  and  Student's  Desk 232 

Section  and  Plans  of  Window 240 

Cellar  Window  in  Stone  Wall 248 

Sections  of  Windows  in  Wood 256 


Architectural  Drawing  Self  Tavght 

INTRODUCTION 

Before  entering  into  the  subject  on  which  this 
work  is  being  prepared,  the  editor  and  compile*' 
would  like  to  say  a  few  words  to  the  reader,  i* 
connection  therewith. 

It  will  be  noticed  that  the  title  of  this  work  i* 
"Architectural  and  Builders'  Drawing  Self 
Taught";  and  this  title  fairly  conveys  to  the 
intelligent  reader,  the  scope  of  the  volume,  as 
the  work  is  intended  solely  for  young  progressive 
carpenters  and  builders  who  are  not  going  to 
drag  out  a  tiresome  existence  by  remaining  at 
the  bottom  of  their  trades,  and  who  have  not 
had  an  opportunity  of  acquiring  a  knowledge  of 
architectural  drawing  or  the  use  of  drawing 
instruments.  Many  of  the  best  draftsmen  in  the 
United  States,  Canada,  and  Great  Britain,  came 
from  the  ranks  of  the  working  men;  men  who 
had  gained  the  most  of  their  knowledge  of  the 
laws  of  construction  and  exactness  in  the  work- 
shop, at  the  bench,  or  on  the  buildings  where 

11 


12  ARCHITECTURAL   DRAWING   SELF  TAUGHT 

they  were  employed;  and  I  may  say  that  it  is 
,within  the  power  of  ninety  per  cent  of  workmen 
to  become  fairly  good  draftsmen,  by  their  own 
efforts,  and  the  aid  of  such  books  as  the  one  I 
have  now  prepared  for  this  purpose;  and  the 
young  man  who  has  by  his  own  efforts,  per- 
severance and  ability,  succeeded  in  being  able 
to  place  on  paper  or  board  with  pen  and  pencil,  a 
plain  elevation  of  a  door,  window,  house,  stone 
wall,  or  veranda,  drawn  to  scale,  and  so  made  as 
to  convey  to  his  fellow  workman  a  correct  idea 
of  what  is  intended,  that  man  has  achieved  a 
result  which  should — and  generally  does — 
advance  his  wages,  increase  his  importance,  and 
make  him  a  more  valuable  and  useful  citizen. 
It  is  not  to  be  supposed  that  this  little  work 
alone,  even  though  thoroughly  digested,  will 
enable  the  reader  to  become  a  finished  drafts- 
man, nor  is  it  so  intended,  but  it  will  aid  him 
materially  in  acquiring  such  knowledge  as  will 
give  him  a  good  start  on  the  highway  to  success. 
Wherever  the  student  can  attain  access  to  a 
school  for  drawing,  there  he  should  at  once 
proceed,  for  a  few  hours  spent  over  a  drawing 
board  under  competent  supervision,  will  do  more 
towards  giving  him  an  insight  into  the  methods 
and  practice  of  good  draftsmanship  than  it  is 


ARCHITECTURAL    DRAWING   SELF  TAUGHT  13 

possible  to  obtain  by  many  days  of  book  study. 
Where  there  are  no  such  schools  available  the 
student  should  try  and  get  Into  an  architect's 
office,  or  into  the  office  of  some  mechanical 
draftsman,  and  either  pay  for,  or  work  for,  a 
series  of  lessons  on  drawing,  but  when  none  of 
these  conditions  exist,  he  should  take  up  a  series 
of  studies  in  practical  geometry  in  connection 
with  drawing;  as  a  knowledge  of  geometr>^  as 
presented  in  either  "Modern  Carpentry  and 
Joinery",  or  other  works  published  in  this  series 
of  work-manuals,  by  Messrs.  Frederick  J.  Drake 
&Co. 

The  construction  of  geometrical  tigures  is 
exceedingly  good  exercise  and  will  not  only 
give  the  reader  good  theoretical  knowledge,  but 
will  help  him  in  his  drawing  lessons  and  practice 
him  in  exactness. 

By  application  and  determination  "to  fight  it 
out  to  a  finish"  the  earnest  student  will  be  sure 
to  make  a  good — perhaps  a  first-class— drafts- 
man, for,  to  the  really  earnest  man,  nothing  is 
impossible  within  the  range  of  human 
accomplishments. 

I  have  referred  in  the  foregoing  to  "exactness." 
This  is  the  first  "necessity"  in  a  drawing  that  is 
intended  to  be  used  as  a  guide  for  actual  work. 


14  ...^  HITECTURAL    DRAWING   SELF   TAUGHT 

A  drawing'"  may  be  rough,  dirty  and  inartistically 
done,  but  if  it  be  complete  and  correct  it  serves 
its  purpose,  and  is  immeasurably  superior  for 
practical  uses  to  the  inexact  artistic  one,  which 
may  dazzle  with  its  shade  and  shadows  and 
fineness  of  execution,  but  leads  to  confusion  and 
failure  and  consequent  chagrin  and  loss. 

I  have  thought  it  necessary  to  inject  into  this 
little  work  a  few  remarks  and  a  few  illustrations 
on  Free  Hand  Drawing,  as  many  persons  are 
gifted  with  the  power  of  being  able  to  make  a 
fair  drawing  of  objects  on  sight,  and  it  was 
thought  that,  perhaps,  a  few  hints  in  this  direc- 
tion would  be  necessary  to  make  the  book 
complete,  as  these  hints  may  aid  those  who  have 
these  gifts,  and  stimulate  those  who  have  them 
not,  to  cultivate  the  art,  as  a  knowledge  of  it  is 
one  of  the  most  useful  aids  the  drawing  student 
can  possess. 

It  must  be  remembered  this  work  does  not 
pretend  to  lead  the  student  beyond  the  realm  of 
plain  practical  drawing,  such  as  the  everyday 
workman  will  find  useful  and  corfvenient,  when- 
ever he  wishes  to  convey  to  others  an  idea  of 
what  he  intends  to  erect,  or  to  lay  out  on  paper 
or  board  a  piece  of  work  he  is  about  to 
execute.      I    have    eschewed    perspective,    and 


ARCHITECTUHAL   DRAWING   SELF  TAUGHT  15 

elaborate  drawings  of  any  kind,  but,  should  it 
be  thought  wise,  I  may  hereafter,  prepare  a 
work  for  this  series,  dealing  with  perspective 
and  a  higher  grade  of  work  than  is  herewith 
presented. 

SOMETHING   ABOUT    DRAWING  INSTRUMENTS 

In  all  kinds  of  geometrical,  architectural  and 
mechanical  drawing,  the  accuracy  of  the  work 
will  depend  much,  in  theory,  on  the  excellency 
of  the  drawing  instruments  used. 

Practically,  these  instruments  are  not  quite 
perfect,  and  any  carelessness  or  negligence  of 
the  draftsman  when  using  them,  may  render 
them  unfit  for  accuracy  of  operation.  Indeed, 
the  hand  and  eye  of  the  operator,  viewed  simply 
as  instruments,  for  executing  conceptions  of 
form,  are  vastly  superior  and  more  varied  than 
the  best  of  appliances  used  by  the  draftsman,  and 
well  directed  efforts  should,  and  will,  bring  out 
this  capacity  so  that,  other  things  being  equal,  he 
will  make  the  most  expert  and  elegant  drafts- 
man whose  eye  is  most  reliable  in  its  estimate 
of  form  and  size,  and  whose  free  hand  is  most 
skilled  in  expressing  these  elements  of  figure. 
Instruments,  however,  are  necessary,  and  a  little 
talk  on  the  subject  will  not  be  out  of  place,  and 
may  prove  of  practical  value  to  the  reader. 


16  ARCHITECTURAL   D"    '^'ING   SELF  TAUGHT 


PLATE   I. 

This  plate  exhibits  some  eighteen  different 
sketches.  No.  i  shows  a  plain  method  of  laying 
out  a  room  having  sliding  doors  in  it.  No.  2 
shows  the  same  room  presented  on  another 
method.  No  3  exhibits  another  simple  plan  ot 
marking  off  the  same  room,  while  No.  4  shows 
the  walls  in  plain  black.  These  four  examples 
are  intended  to  convey  to  the  student  some  idea 
of  the  various  methods  of  illustrating.  No.  5 
shows  the  layout  of  a  porch,  with  an  angle  on 
one  corner.  No.  6  shows  the  plan  of  the  porch 
roof.  Nos.  7  and  8  show  plan  of  semi-octagon 
bay-windows,  and  roof  plan,  while  No.  9  shows 
the  roof  plan  for  a  pentagon  bay-window.  Nos. 
10  and  1 1  show  two  plans  of  stairs  that  are 
suggestive.  Nos.  12  and  13  exhibit  two  styles  of 
laying  out  a  bath  room.  No.  14  shows  several 
ways  of  laying  out  fireplaces,  while  15,  16  and  17 
show  portions  of  a  pantry  and  kitchen. 


INSERT  FOLDOUT  HERE 


ARCHITECTURAL,    DRAWING    SELF   TAUGHT  17 

Almost,  in  every  department  of  life  the  best 
results  can  only  be  obtained  by  the  skilful 
employment  of  the  best  means  available.  Some 
times  a  genius  accomplishes  supreme  results  with 
the  most  primitive  of  means,  but  it  is  not  for 
geniuses  this  work  is  prepared,  but  for  everyday 
sort  of  people,  people  who  do  not  expect  to 
build  houses  without  materials,  or  become 
draftsmen  without  long  and  careful  preparation; 
and  such  being  the  case  it  is  in  order  that  the 
reader  be  advised  to  purchase  the  best  instru- 
ments and  accessories  his  means  will  admit  of. 

"A  fine  workman  requires  fine  tools,"  and  no 
man  can  do  a  fine  piece  of  work  not  having  the 
proper  tools  wherewith  to  do  it,  so  no  man  can 
do  a  good  piece  of  drafting  without  having  the 
necessary  tools;  therefore,  it  will  not  be  out  of 
place  to  commence  with  a  description  of  the 
instruments  required,  and  the  manner  of  using 
them. 

The  first  thing  the  young  student  will  require, 
will  be  a  drawing  board.  This  may  be  made  at 
home,  but  should  be  true  on  its  face  and  the 
edges  should  be  exactly  at  right-angles  with 
each  other,  or  perfectly  square.  The  board  may 
be  made  in  size,  to  suit  requirements,  but  should 
never  be  less  than  12  by  17  inches.     Indeed,  it  is 


18 


ARCHITECTURAL    DRAWING   SELF  TAUGHT 


better  to  have  two   or   three    boards   of    sizes 
varying  from  12x17  to  36x60  inches. 


They  may  be  clamped  on  the  ends  with  stuff 
about  i^  inches  wide  and  the  thickness  of  the 
board,  or  they  maybe  held  together  with  battens 
either  screwed  on  to  the  underside  as  shown  at 


Fig.   2. 

Fig.  I,  or  dovetailed  into  the  board  across  the 
grain   as  shown   a^    rig.  2.     At  Fig.  3  a  much 


ARCHITECTURAL    DRAWING    SELF   TAUGHT  19 

better  board  is  shown  and  one  I  can  recommend 
as  possessing  nearly  all  the  qualities  of  a  perfect 
board. 

A  glance  at  the  illus- 
tration will  explain  the 
good  qualities  of  this 
style  of  board.  The  wood 
used  should  be  carefully  "^Fig.  3. 

selected  pine  or  basswood 

with  hardwood  cross-bars  at  back.  To  pre- 
vent the  warping  of  the  wood,  the  board  is 
sawed  half  way  through  at  about  every  two 
inches,  and  for  the  purpose  of  allowing  to  con- 
tract and  expand,  the  cross  bars  are  not  glued 
on,  but  fastened  with  screws,  which  run  in  oblong 
metal  slots.  At  the  ends,  pieces  of  hardwood 
are  inlaid,  to  give  the  T-square  a  smooth  work- 
ing edge.  They  are  also  cut  at  every  few 
inches,  to  allow  for  contraction  and  expansion 
of  the  board. 

While  the  cheapest  boards  are  made  of  white 
pine  or  basswood,  it  doesn't  necessarily  follow 
that  boards  may  not  be  made  of  other  woods; 
cedar,  mahogany  and  straight  grained  walnut 
make  very  fine  boards  and  answer  very  well 
where  you  do  not  require  to  use  pins  for  securing 
the  paper  to  the  board.     When,  then,  hardwood 


20  ARCHITECTURAL   DRAWING   SELF  TAUGHT 

boards  are  used,  it  is  as  well  to  employ  glue  or 
mucilage  in  fastening  paper  to  the  board. 

Drawing  paper  comes  in  rolls  of  indefinite 
lengths,  and  from  36  to  54  inches  wide,  and  in 
sheets  of  various  sizes.  It  is  made  in  different 
tints,  is  generally  very  tough,  and  is  chiefly  used 
for  details;  it  is  much  cheaper  than  Whatman's, 
and  for  many  purposes  answers  just  as  well. 
There  is  also  a  paper  comes  in  rolls  called 
"Cartridge  paper"  of  a  buff  color,  ver}^  strong 
and  cheap,  and  admirably  suited  for  details  and 
like  work.  Tracing  cloth,  also,  comes  in  rolls, 
18,  30,  36,  and  42  inches  wide;  it  is  convenient 
and  durable,  and  may  be  folded  up  almost  any 
number  of  times  without  injury. 

Tracing  paper  is  made  of  different  qualities 
and  sizes;  it  is  rendered  transparent,  and 
qualified  to  receive  ink  lines  and  tinting  without 
spreading.  Like  tracing  cloth,  when  placed 
over  a  drawing  already  executed,  the  drawing  is 
distinctly  visible  through  the  paper,  and  may  be 
copied  or  traced  directly  by  the  ink  instruments; 
thus  an  accurate  copy  may  be  made  with  great 
expedition.  We  cannot  give  reliable  price 
quotations  of  these  papers,  as  they  vary  some- 
what, and  mav  be  different  prices  in  different 
localities. 


ARCHITECTURAL   DRAWING   SELF  TAUGHT  'il 

The  paper  should  be  fastened  to  the  board 
with  pins  or  thumb-tacks  similar  to  those 
exhibited  in  Fig.  4.  These  are  made  with  a 
broad  flat  head,  of  brass,  white  metal 
or  silver,  and  rounded  so  as  to  permit 
the  square  to  slide  easily  over  them,  '^'  ■* 
and  the  stem  should  be  of  steel  and  riveted  or 
screwed  into  the  head. 

Fig.  5  exhibits  several  styles  of  "thumb-tacks,'^ 
all  of  which  are  well  enough  in  their  way. 
There  is  a 
number  of  other 
styles  of  tacks 
of  various  kinds 
besides  the  ones 
shown. 

When  the 
young  student  gets  down  to  "real  worlc"  and 
makes  use  of  good  paper,  he  should  first 
damp  the  edges  of  the  paper,  then  glue  the 
edges  and  place  fairly  on  the  board,  holding  it 
in  place  with  pins  or  other  suitable  appliances, 
which  may  be  removed  when  the  work  is  dry 
and  ready  to  operate  upon.  This  method  of 
fastening  is  sufficient  where  no  shadowing  or 
coloring  is  to  be  applied,  and  if  the  sheet  is  not 
too   long   a  time   upon  the  board.     It  has  the 


Fig.  5. 


22  ARCHITECTURAL    DRAWING   SELF   TAUGHT 

advantage,  too,  of  preserving  to  the  paper  its 
natural  quality  of  surface.  With  mounted  paper, 
there  is  no  other  proper  way  of  fastening.  For 
large,  colored,  or  elaborate  drawings,  however, 
a  damped  sheet  is  preferable,  and  where  the 
coloring  is  a  flat  tint,  damp  stretching  is  indis- 
pensable, as  the  partial  wetting  by  water  color 
causes  the  surface  to  buckle;  partial  wetting  of 
loose  paper  by  water  color  causes  the  surface  to 
buckle. 

Damp-stretching  is  performed  in  the  following 
manner:  lay  the  sheet  on  the  board,  with  the 
face  side  under,  and  have  the  thick  edges 
trimmed  from  the  paper;  draw  a  wet  sponge 
freely  and  rapidly  over  the  upper  side,  beginning 
at  the  center,  damping  the  entire  surface,  and 
allow  the  sheet  to  rest  for  a  few  minutes  till  it 
be  damped  through,  and  the  surface-water 
disappears.  Those  parts  which  appear  to  revive 
sooner  than  others,  should  be  retouched  with  the 
sponge.  The  damping  should  be  done  as  lightly 
as  possible,  as  the  sponge  always  deprives  the 
paper  of  more  or  less  of  its  siting.  The  sheet  is 
now  turned  over  and  placed  fair  with  the  edges 
of  the  board — sufficiently  clear  of  the  working 
edges  to  permit  the  free  action  of  the  drawing- 
"Kiuare.     The    square,  or  an   ordinary  straight- 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


23 


edge,  is  next  applied  to  the  paper,  and  set  a  little 
within  one  edge,  which  is  then  turned  up  over 
the  square  and  smeared  with  glue.  The  paper 
is  then  turned  down  and  pressed  on  the  board, 
after  which  it  is  rubbed  down  all  along  the  "lap" 
with  some  smooth  article.  The  same  process  is 
performed  on  the  other  edges  of  the  paper. 
The  whole  is 
then  left  to  dry, 
which,  when 
completed, 
leaves  the  sur- 
face flat  and 
tense. 

It  is  not  likely 
the  ordinary 
workman  will 
want  to  color  his 
drawings,  there- 
fore he  will  find 

it  safer,  and  less  trouble,  to  simply  tack  his 
paper  on  the  board  with  the  thumb  tacks,  and 
then  make  his  drawings  first  in  pencil,  then  in 
ink,  but  I  have  thought  It  well  to  give  some  hints 
regarding  the  manner  of  preparing  the  papers 
for  coloring.  Further  on,  I  will  have  more  to 
say  on  this  subject  and  on  the  subject  of  color. 


'^///)!// />///)) ///////y///-/^^y  J  y//^^  v/  "/^ 


^ig.  6. 


24 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


Having  prepared  a  drawing  board,  the  next 
thing  will  be  to  provide  a  table  or  desk  to  rest 
the  board  on.  I  show  a  very  good  scheme  for 
this  purpose  in  sketch  Fig.  6,  and  which  can 
readily  be  made  by  any  workman  who  can  use 
tools.  This  should  be  fixed  in  some  place  where 
there  is  an  abundance  of  light  and  in  such  a 
position  that  the  light  will  fall  on  the  board  from 
the  left  side  as  shown  in  Fig.  7.     The  height  and 


Fig.  7. 

projection  of  the  table  ot  desk  are  marked  in 
Fig.  6,  and  a  movable  block  of  about  3  inches 
square  is  shown  at  A,  which  can  be  moved  in 
such  a  fashion  that  the  angle  of  the  board  may 


ARGHITECTURAL   DRAWING   SELF  TAUGHT 


25 


be  made  to  suit  the  operator.     This  block  must 
of  course  be  as  long  as  the  drawing  board. 

Fig.  7  shows  the  board  in  position  with  the 
paper  tacked  on,  and  the  proper  position  of  the 
hands  are  shown  as  they  should  appear  while 
making  the  drawing. 

The  next  thing  to  be  considered  is  the  T 
square.  This 
needs  but  little 
description,  a  s 
every  workman 
is  supposed  to 
know  what  this 
instrument  is;  it 
may,  however, 
be  noted  that 
T-squares  differ 
in  construction. 
In  the  common- 
est the  "blade", 
or  thin  portion, 
is  fixed  flush 
with  one  side  of  the  "butt",  or  "head",  as  at 
A,  Fig.  8.  In  other  forms  the  blade  is  fast- 
ened in  the  middle  of  the  butt,  B,  and  this  is 
the  preferable  form  for  large  squares;  others,  at 
C,  Fig.  8,  have  the  blade  above  the  level  of  the 


Fig.  8. 


26 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


head,  to  permit  set-squares  to  go  over  it.  Very 
large  squares  have  a  couple  of  little  studs,  as 
shown  in  the  figure  B,  to  steady  them. 

French  curves,  L,  Fig.  9,  are  made  in  a  great 
variety  of   combinations.      They  are  extremely 

handy  for  draw- 
ing curves  not 
easily  struck  by 
the  compasses, 
and  also  for  ec- 
centric curves, 
which  the  com- 
passes are  not 
able  to  describe 
as  in  medieval 
mouldings  of 
some  forms.  In 
i  n  k  i  n  g  -  i  n  a 
curve  by  the  aid  of  one  of  these  appliances 
the  edges  must  be  turned  about  on  the  pencilled 
drawing  until  some  part  is  found  which 
corresponds,  when  the  edge  of  the  curve  will 
guide  the  drawing-pen.  There  are  a  great 
variety  of  these  curves  as  may  be  seen  at  Fig. 
10.  These  variable  or  irregular  curves  are  made 
of  thin  wood,  hard  rubber  or  celluloid,  and  are 
sold  for  a  few  cents  each. 


Fig.  9. 


ARCHITECTURAL   DRAWING   SELF   TAUGHT 


27 


The  set    square  or    squares,   similar  to   those 
shown  at  Fig.  9,  C,  D,  K  and  B,  are  great  aids 


Fig.  10. 


to  drawing  as  they  may  be  employed  in  conjunc- 
tion with  the  T-square,  for  lining  off  angles,  or 
laying  off  parallel  lines  as  shown  by  the  dotted 
lines  EG,  and  FH.     These  set  squares  are  made 


Fig.  II. 


to    suit    different    angles,  and    in    many    styles, 
as    will    be    seen    in    Fig.   11.     The    manner  of 


28 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


using  them  will  suggest  itself  as  the  work  pro- 
ceeds. 

T-squares  of  a  superior  kind  may  be  obtained 
from  any  dealer  in  mathematical  instruments 
for  from  $i.oo  to  $6.00  each,  but  in  most  cases 
the  workman  can  make  his  own  squares,  as  well 
as  his  own  drawing  boards,  and  save  money  by 
the  operation.  The  squares  shown  at  Fig.  12 
are  of  a  superior  kind,  the  blades  and  one  edge 


Fig.  12. 


of  the  stocks  having  ebony  or  other  hard  wood 
glued  on  the  edges  to  prevent  them  from  wear- 
ing. The  lower  square  has  a  movable  stock, 
which  is  operated  by  a  thumb  screw,  thus 
enabling  the  draftsman  to  set  the  blade  to  any 
angle  desired.  The  working  of  this  will  be 
easily  understood  by  the  reader. 


ARCHITECTURAL    DRAWING   SELF   TAUGHT  29 

Another  accessory,  and  one  the  workman  can 
make  for  himself,  is  a  straight  edge — or  several 
of  them — which  may  be  made  of  hard-wood,  or 
it  may  be  made  of  good  clean  straight  grained 
soft  wood,  and  have  hardwood  edges  glued  on 
as  shown  in  Fig.  13.  Perhaps  it  would  be  well 
to  have  three  or  four  of  these  straight  edges  in 
different  lengths  and  widths,  say  one  16  in.  long, 


Fig.  13. 

one  30  in.  long,  and  another  40  in.  long.  The 
widths  may  be  2  in.,  23^  in.,  and  ^%  in. 
respectively.  They  should  not  be  more  than 
three-sixteenths  of  an  inch  thick,  but  would  be 
better  if  they  were  thinner. 

A  rule  or  scale  is  always  necessary,  for  all 
architectural'or  other  drawings  that  are  intended 
to  be  worked  from,  must  be  made  to  scale. 
Usually,  in  this  country,  scales  are  made  and 
marked  off  to  some  proportion  of  the  English 
foot,  when  intended  for  architectural  work. 
One  sixteenth  of    an   inch   may  represent   one 


30 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


foot  or  one  yard,  as  the  case  may  be,  so  also  may 
one  eighth,  one  quarter,  or  one  half  of  an  inch 
represent  one  foot  or  one  yard,  just  as  the 
draftsman  determines.  One  eighth  of  an  inch  is 
the  most  used,  though  one  quarter  of  an  inch  is 


Fig.  14. 

the  scale  generally  employed.  For  workmen's  use 
three  quarters  of  an  inch  scale  is  handy,  as  this 
makes  one  sixteenth  of  an  inch  represent  one 
inch  of  the  actual  work,  which  is  quite  con- 
venient in  a  working  drawing. 

Scales  may  be  had  flat  or  triangular,  and  in 
boxwood,  ivory  or   hard    rubber,  and  one   foot 


Fig.  15. 

long.  The  flat  scales'  are  very  handy,  but  are 
sometimes  confusing,  because  often  two  or  more 
scales  are  laid  off  on  one  edge.  Perhaps  the 
handiest  scale  for  actual  use,  is  the  triangular 
one.  which  is  similar  to  Fig.  14.     There  are  six 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


3t 


edges  on  this  scale,  each  edge  having  a  different 
marking  or  scale.  The  flat  scale  is  shown  at 
Fig.  15.  This  scale  is  12  inches  long,  with  16 
scales,  as  follows:  >^,  js,  %,  }i,  j4,  ^,  ^,  >^,  i, 
1%,  lyz,  i}i,  2,  2%,  2>^,  and  3  inches  to  the  foot, 
the  first  division  of 
each  scale  subdi- 
vided in  12  parts, 
each. 

Besides  these 
there  are  many 
other  kinds  of 
scales  made  use  of 
by  Architects,  En- 
gineers, and  Sur- 
veyors, but  these 
shown  and  d  e  - 
scribed,  will  suffice 
for  the  purpose 
for  which  this  book  is  prepared,  as  it  is  not 
intended  to  embody  in  this  work  other  than  the 
simplest  methods  of  plain  architectural  work, 
and  such  as  can  be  executed  with  the  simplest 
kind  of  instruments. 

There  is  a  number  of  other  accessories  used 
in  drawing  besides  these  mentioned,  that  are 
not  placed  in  a  regular  box  or  case  of  instru- 


Fig.  16. 


3:2  ARCHITECTURAL   DRAWING   SELF   TAUGHT 


PLATE    2. 

Following  up  the  ideas  presented  in  Plate  i,  I 
give  herewith  the  plans  for  a  small  cottage  and 
show  the  cellar  plan,  first  floor  plan  and  chamber 
plan.  This  is  drawn  to  a  scale  of  sV  of  an  inch 
to  the  foot,  but  I  would  advise  the  student  to 
double  the  size,  which,  as  a  matter  of  fact,  the 
original  drawings  of  these  examples  is  the  scale 
to  which  they  are  made,  namely  A  of  an  inch  to 
the  foot.  Every  item  necessary  for  a  house  of 
this  description  is  shown  on  these  plans. 


INSERT  FOLDOUT  HERE 


ARCHITECTURAL   DRAWING   SELF  TAUGHT  33 

ments,  such  as  splines,  ellipsographs,  and  beam- 
compasses;  the  latter  being  designed  for 
drawing  circles  of  large  diameter,  and  are  so 
made  that  the  points  can  be  moved  to  the 
desired  distance  apart.  One  steel  point  may  be 
removed  and  a  pencil  or  inking  pen  inserted.  Set 
screws  hold  the  heads  in  position  on  the  sliding 
bar  A,  Fig.  i6.  This  bar  may  be  of  wood,  or  of 
metal,  preferably  the  former,  and  it  may  be  of 
any  desired  length. 


Fig.  17. 

Splines  are  flexible  strips  of  wood  or  metal, 
and  are  used  for  forming  cur\^es — regular  or 
variable — and  are  held  in  position  by  a  peculiar 
attachment  which  serves  to  hold  the  curve  in 
position  as  shown  at  S  S  S,  Fig.  17.  These 
attachments  are  made  of  lead. 

The  ellipsograph  is  a  costly  instrument  and 
one  which  the  ordinary  workman  would  seldom 
require;  besides,  there  are  a  number  of  ways  by 
which  an  ellipse  may  be  drawn,  and  figures 
approaching  an  ellipse,  so  I  would    not  advise 


34  ARCHITECTURAL    DRAWING    SELF   TAUGHT 

the  young  draftsman  to  purchase  the  more 
expensive  one  until  his  means  or  business 
warranted  it.     I  give  an  illustration,  however,  of 


Fig.  1 8. 

Browne's  patent  ellipsograph  in  order  to  acquaint 
my  readers  with  the  style  of  instrument.  This 
is  an  excellent  device,  and  can  be  adjusted  to 


ARCHITECTURAL   DRAWING    SELF   TAUGHT  35 

form  ellipses  or  ovals  of  all  kinds  within  the 
limits  of  the  instrument.  It  is  shown  with  some 
of  the  attachments  at  Fig.  i8.  The  price  of  this 
device  varies  from  $9.00  to  $14.00.  A  very- 
good  one  may  be  obtained  for  about  $12.00. 

Apart  from  the  conventional  box  of  instru- 
ments, the  appliances  now  described  will  be 
about  all  the  young  workman  will  require 
unless,  of  course,  he  intends  to  study  for  an 
architect  or  mechanical  engineer,  when,  of 
course,  he  will  have  passed  beyond  the  limits  of 
this  work  which  is  intended  only  for  such  work- 
men as  have  no  other  opportunities  of  learning 
the  rudiments  of  draftsmanship. 

It  will  be  in  order  now  to  say  something  about 
the  instruments  proper  the  beginner  will  require, 
so  I  will,  as  briefly  as  possible,  describe  the 
instruments,  explain  their  uses,  and  offer  a  few 
suggestions  as  to  their  care  and  management. 

A    BOX    OF    INSTRUMENTS 

It  is  not  my  province  to  recommend  any 
particular  make  of  instruments  for,  so  far  as  I 
am  aware  any  of,  the  ordinary  makes — that  are 
not  intended  for  school  children — will  serve  the 
purpose  of  learning  their  use,  and  afterwards, 
the  student,  when  advanced  sufficiently,  a  more 


36 


ARCHITECTURAL    DRAWING    SELF  TAUGHT 


costly  and  more  complete  set  may  be  obtained  if 
found  necessary.  While,  of  course,  purchasing 
drawing  instruments  is  like  purchasing  tools, 
that  is,  it  is  always  better  to  buy  the  very  best 
that  can  be  bought,  and  I  may  say  that  the  best 
may  be  obtained  in  single  pieces  or  in  boxes 
containing  only  three  or  four  pieces.  However, 
perhaps,  it  is  best  in  our  case  to  get  a  set  similar 
to  the  case  shown  at  Fig.  19.     This  is  a  Morocco 

case  which  con- 
tains two  divid- 
ers, pen  and  pen- 
cil points,  draw- 
ing pen,  and  a 
six  inch  flat 
scale.  This  case 
can  be  bought 
for  about  $4.00, 
for  which  sum  instruments  ought  to  be  fairly  good ; 
if,  however,  the  student  can  afford  it,  and  feels 
that  he  had  better  purchase  a  set  of  instruments 
that  will  meet  all  his  needs,  present  and  future, 
why  then  he  had  better  invest  in  a  better  quality 
of  goods,  and  purchase  a  case  containing  a 
greater  number  of  instruments  and  of  a  finer 
grade,  such  as  I  show  at  Fig.  20,  which  may  be 
obtained  for  about  $20.00  or  $25.00.     This  case 


Fig.  19. 


ARCHITECTURAL    DRAWING   SELF   TAUGHT  37 

contains,  besides  the  box,  one  ^}4  in.  dividers, 
with  pen,  pencil  and  needle  points,  lengthening 
bar;  T)/'^  iri-  dividers,  with  pen,  pencil  and  needle 
points;    5    in.  plain  dividers;    5   in.   hair  spring 


Fig.  20.  ^ 

dividers;  spring  bow  dividers,  pen  and  pencil, 
needle  points,  ivory  handle;  4.}4  in.  ivory  handle 
hinged  drawing  pen,  needle  point;  5>^  in.  ivory 
handle  hinged  drawing  pen,  needle  point; 
German  silver  protractor,  ebony  rule  and  scale. 


38 


ARCHITECTURAL    DRAWING   SELF  TAUGHT 


These  instruments  are  made  of  fine  German 
silver  with  superior  steel  points. 


m 


iiiii 


FiiT.  21. 


Fine  Swiss  made  instruments  cost  more  than 
German  ones,  as  some  of  the  Swiss  cases  run  up 


ARCHITECTURAL   DRAWING   SELF  TAUGHT  39 

to  $150.00  and  $175.00.  English  and  American 
made  instruments  are  high  priced,  but  as  a  rule 
are  more  substantial  and  in  the  end  give  bet- 
ter satisfaction  than  other  makes. 

The  first  things  to  be  considered  in  a  set  of 
instruments  are  the  compasses.  These  generally 
include  dividers  and  pen  and  pencil  attach- 
ments. It  is  not  necessary  to  illustrate  or  de- 
scribe the  form  of  these  instruments,  as  they 
may  be  seen  in  the  case  as  shown  in  Fig.  20, 
and  the  interchangeable  parts  will  easily  find 
the  place  they  are  intended  for  when  required 
for  use;  so  I  will  not  dwell  on  the  subject  of  com- 
passes longer. 

Perhaps  the  most  important  article  in  the  case 
to  the  young  student  is  the  pen,  and  I  will  there- 
fore devote  more  space  to  a  description  of  it 
than  I  will  to  any  other  of  the  instruments,  as  a 
proper  knowledge  of  its  use  and  care  will  be  of 
great  assistance  in  the  work  before  us. 

A    DRAWING    PEN 

This  is  the  most  useful  and  the  most  used 
instrument  in  the  case.  Fig.  21,  which  is  taken 
from  Keuffel  and  Esser  Co.'s  catalogue,  shows  a 
variety  of  pens  of  the  very  best  make,  pens  that 
are  suited  for  any  kind  of  line  drawings  in  ink. 


40  ARCHITECTURAL   DRAWING   SELF  TAUGHT 

The  prices  of  these,  with  ivory  handles,  range 
from  $1.40  to  $2.50  each,  and  they  are  warranted 
to  be  the  best  of  their  kind. 

A  few  words  as  to  the  use  and  care  of  this 
instrument  may  not  be  out  of  place  at  this 
juncture,  as  it  is  important  the  instrument  should 
be  well  understood  by  the  student  so  that  he 
may  the  better  be  able  to  make  the  best  of  it. 
The  man  who  devotes  himself  exclusively  to  any 
particular  vocation,  day  after  day,  for  several 
years,  acquires  an  intimate  knowledge  of  its 
details  that  is  not  easily  imparted  to  the  novice 
through  the  medium  of  pen  and  ink,  and  often 
when  it  is  attempted,  the  finer  details  which  con- 
tribute so,  much  to  success  are  passed  over  lightly 
or  are  omitted  altogether.  "In  the  course  of  his 
experience  he  acquires  ways  and  means  of 
prosecuting  his  work,  if  he  be  intelligent  and 
progressive,  which  makes  its  execution  easy  and 
places  him  on  the  list  of  "skilled  operators." 

The  art  of  mechanical  drawing  contains  a  few 
of  those  mysteries  which,  if  published  at  all,  have 
not  been  given  a  very  wide  circulation. 

Our  scientific  libraries  and  dealers  in  technical 
works  are  copiously  supplied  with  books  on 
mechanical  drawing,  in  any  of  which  may  be 
found    the    illustrations    of  tools,  curves,   inks, 


ARCHITECTURAL    DRAWING   SELF   TAUGHT  41 

colors,  etc.,  carefully  reproduced  from  the 
catalogues  of  dealers,  but  the  accompanying 
description  does  not  always  give  a  clear  idea  of 
the  relative  merits  of  the  different  tools  shown, 
how  they  should  be  selected,  handled,  and  kept 
in  repair,  and,  while  it  is  not  intended  in  this 
work  to  describe  the  methods  of  caring  for  and 
repairing  all  the  instruments  a  box  contains,  it 
is  necessary  the  pen  should  have  more  than  a 
passing  notice. 

It  is  a  custom  with  many  makers  of  first-class 
instruments  to  hinge  one  jaw  of  the  ruling  pen 
to  the  little  separating  block  above  the  adjusting 
screw,  so  that  it  may  be  opened  after  the  adjust 
ing  screw  is  removed.  In  a  pen  of  this  kind  the 
joint  should  be  very  snug,  as  the  least  amount  of 
play  will  allow  the  point  of  one  jaw  to  slip  ahead 
of  the  other,  which  would  destroy  the  efficiency 
of  the  pen.  In  the  opinion  of  the  writer  this 
joint  is  altogether  unnecessary.  It  increases  the 
first  cost  as  well  as  complicates  the  instrument, 
and  if  used  often,  will  get  out  of  order,  even 
with  the  very  best  workmanship.  If  used 
properly  the  points  need  nev^er  be  separated 
further  than  the  adjusting  screw  will  permit. 
Many  draftsmen  have  the  hinge  joint  brazed  or 
soldered  so  as  to  fix  the  movable  jaw  to  the 


42  ARCHITECTURAL    DRAWING   SELF  TAUGHT 

separating  block  and  make  it  permanent.     The 
points  of  a  pen  should  never  be  separated  for 
sharpening,  which  is  the  only  purpose  for 
which  the  hinge  is  made.  When  the  point 
has  become  dull  from  use  it  will  be  found 
with  a  shape  similar  to  Fig.  22.    To  restore 
it   to  the  proper  form  the  jaws  should  be 
closed  by  the  adjusting  screw,  so  that  the 
\_y     points    press  gently   against  each   other; 
then  with  a  fine  oilstone  worked   with   a 
circular  motion    on   the   high  corners  it 
should    be  ground  to  a  shape    similar  to 
Fig.  23.     The  point  will  then  be  blunt,  but 
will  have  the  proper  working  when  the 
sides   are  reduced,  which  should  be  care- 
fully done  by  laying  the  side  of  the  pen 
on  the  stone  at  an  angle  with  its  surface 
that  will  allow  the  metal  to  be  ground  in 
a  straight  line  to  a  distance  of  about  one 
quarter  of  an  inch  from  the  point.     The 
jaws  should  be  opened   frequently  as  the 
work  progresses  and  the  points  examined 
Fig.      to  avoid  grinding  through   the    point   of 
''^'       one    jaw   into    that    of   the    other.      The 
sides  are  to  be   reduced  till  the  points  of  each 
jaw    are    equal    and   just   fine    enough   to   slide 
smoothly  over  the  paper  without    producing  a 


1 


ARCHITECTLTRAL    DRAWING    SELF   TAUGHT  43 

cutting  or  scratching  sensation.  When  the 
points  are  not  sharp  enough  to  make  a  clean 
fine  Hne  the  blunt  part  is  easily  visible  with  the 
naked  eye,  but  when  it  is  sufficiently  re- 
duced it  is  hardly  possible  to  see  it.  The 
shape  of  the  curves  in  the  sides,  or  jaws, 
of  a  pen  is  also  an  important  feature.  If 
the  pen  is  too  open  near  the  point  on 
account  of  the  jaws  being  too  much  curved, 
as  in  Fig.  24,  it  will  leave  too  much 
space  for  ink,  causing  it  to  dry  quickly  or 
to  fall  out  in  using.  Fig.  25  shows  about 
the  proper  amount  of  curve  in  the  jaws 

Fisf.  24. 

to  give  sufficient  ink  space. 

Wooden  handles,  though  not  quite  as 
elegant,  as  bone,  are  preferable  as  they 
are  not  liable  to  break  when  accidentally 
swept  off  the  drawing-board — an  accident 
that  destroys  nine-tenths  of  the  bone 
handles. 

For  spring  bow  pens  and  pencil  com- 
passes it  is  advisable  to  have  on  the 
adjusting  screw,   when  the  pen  or  pencil 

is  set  to  draw  its  largest  circle.     With  a 

1       .  .      1  .  ^ig-  25. 

pen  that  is  not  too  strong  m  the  sprmgs 

an    experienced   draftsman    w411    never    change 

his  centers  to  draw  a  shade  line  on  one  side  of 


44  ARCHITECTURAL   DRAWING   SELF  TAUGHT 

the  circle,  as  this  may  be  easily  accomplished 
by  springing  the  pen  gently  toward  the  side 
to  be  shaded,  as  he  continues  the  movement 
of  drawing  the  circle.  The  pivot,  or  needle 
point,  should  always  be  adjustable.  When  it  is 
made  solid  with  the  leg  of  the  instrument  it  is 
generally  shaped  like  the  point  of  a  sewing 
needle,  and  will  pierce  a  large  hole  through  the 
paper  or  tracing  cloth  with  the  slightest  pressure 
if  used  several  times  in  the  same  center;  and 
should  a  small  piece  be  broken  off  the  point,  the 
pen  will  be  useless  unless  a  similar  length  be 
ground  off  the  nibs  of  the  pen. 

A  very  common  source  of  annoyance  in  nearly 
all  bow  pens  and  pencil  compasses  is  found  in 
the  eye  or  socket  provided  for  the  pencil.  In 
many  cases  it  is  found  too  large  to  hold  the 
ordinary  naked  lead,  and  too  small  for  those 
covered  with  wood.  Frequently'  draftsmen  are 
obliged  to  overcome  this  difficulty  by  the  clumsy 
makeshift  of  reducing  the  wood  till  it  fits  the 
socket. 

Sometimes  a  small  bushing  is  provided  with 
the  compass,  that  will  fit  in  the  eye  and  hold  the 
lead.  This  is  unsatisfactory,  as  the  pencil  cannot 
be  readily  adjusted  as  the  point  wears  away. 
The  most  effective  treatment  an  instrument  of 


ARCHITECTUR.M    DRAWING   SELF   TAUGHT  45 

this  kind  can  have  is  to  file  away  the  metal  in 
the  parting  or  "split'"  of  the  socket  and  close  in 
its  sides  so  as  to  reduce  the  eye  sufficiently  to 
grasp  the  hexagon  lead  of  a  6H  pencil;  this 
makes  the  pencil-holder  ver>'  convenient  as  well 
as  economical,  the  butts  of  worn  pencils  may  be 
stripped  of  their  wood  and  the  leads  used  in  the 
compasses. 

So  much  for  the  pen  in  its  various  forms;  and 
now  a  few  words  concerning  some  of  the  other 
instruments.  Among  these  may  be  found  some 
possessing  various  degrees  of  usefulness,  and 
others  having  no  merit  whatever.  Some  of  the 
devices  that  have  been  invented  for  making 
broken  or  dotted  lines  may  be  classed  among  the 
latter.  The  proportional  compasses  or  dividers 
is  a  ver}'  good  tool  to  have  in  stock,  but  it  should 
never  be  used  for  transferring  drawings  from 
one  scale  to  another  when  accuracy  is  required; 
not  only  is  the  instrument  liable  to  be  in  error, 
but  if  there  should  be  any  mistakes  in  measure- 
ment in  the  original  drawing  they  will  be  trans- 
ferred to  the  new  in  a  greater  degree. 

A  much  more  effective  and  convenient  pointer 
than  that  usually  found  in  sets  of  instruments 
may  be  made  on  the  one  end  of  a  6H  pencil  by 
reducing  it  to  a  fine  point.     The  dot  or  point  left 


46  ARCHITECTURAL   DRAWING   SELF  TAUGHT 

by  it,  indicating  the  dimension,  is  always  easily 
found,  and,  as  the  other  end  of  the  pencil  may 
be  made  "chisel  shaped"  or  flat  for  drawing 
lines,  the  operation  of  laying  off  dimensions  and 
drawing  the  lines  may  be  carried  on  without 
changing  tools  or  losing  time.  For  sharpening 
pencils,  it;  is  very  convenient  to  haVe  a  fine  file, 
attached  by  a  string  to  the  under  side  of  the 
drawing  board,  or  what  is  still  better,  as  the  file 
very  soo  n  gets  dull,  a  piece  of  wood  made  about 
the  shape  of  a  small  flat  file  with  a  piece  of 
emery  cloth  glued  to  each  side.  In  using,  the 
pencil  should  be  rubbed  on  the  emery. 

The  boxwood  scale  with  triangular  section, 
same  as  shown  at  Fig.  14,  has  served  its  purpose 
well,  but  it,  too,  has  its  weak  points.  The 
requirements  of  a  good  scale  are  that  the 
graduations  and  figures  shall  be  plain  and 
indelibln,  that  it  be  perfectly  straight  and  the 
edges  sharp,  so  that  the  division  lines  may  be 
brought  close  to  the  paper.  The  boxwood  scale 
does  net  possess  the  first  of  these  features  as 
the  lines  will  be  often  dimmed  or  partially 
oblitera«"ed  with  two  or  three  years'  use. 

Some  draftsmen  have  a  habit  of  taking  off 
dimep'iions  by  placing  one  leg  of  the  dividers  on 
any  particular  division  and  extending  the  other 


AHCHITECTURAL  DRAWING  SELF  TAUGHT      47 

to  the  distance  required.  When  this  is  done 
with  a  boxwood  scale  its  usefulness  is  limited  to 
a  very  short  time.  The  grain  of  the  wood  must 
be  straight,  or  it  will  be  apt  to  warp  or  spring. 
Some  excellent  scales  are  made  of  hardened 
steel,  by  a  firm  in  Providence,  R.  I.,  which  seem 
to  me  to  be  as  near  perfection  as  possible. 
Draftsmen  as  a  rule,  however,  object  to  making 
use  of  steel  scales,  and  they  have  not  come  into 
general  use;  and  for  this  reason,  these  scales,  we 
are  informed,  cannot  be  obtained  unless  specially 
ordered  at  the  factory. 

~  Every  metallic  instrument  the  draftsman  uses 
should,  when  possible,  be  nickel-plated.  There 
is  nothing  contributes  so  much  to  their  pres- 
ervation, no  amount  of  careful  polishing  and 
wiping  will  so  effectually  prevent  rusting  and 
discoloring,  and  nothing  improves  their  appear- 
ance so  much  or  makes  them  so  agreeable  to 
handle.  The  cost  of  plating  is  insignificant 
compared  with  the  benefit  derived,  as  the 
average  cost  of  plating  would  not  exceed  ten 
cents  for  each  tool  or  instrument. 

In  selecting  triangles  it  is  essential  to  have 
them  of  a  material  that  will  not  change  shape 
with  each  atmospheric  disturbance.  For  a 
number  of  reasons  hard  rubber  is  the  best  that 


48  ARCHITECTURAL   DRAWING   SELF  TAUGHT 


PLATE   3. 

On  this  Plate  I  show  the  side  frame  of  the  small 
cottage  with  all  the  openings  for  windows,  also 
two  sections  of  the  framework,  with  the  heights 
marked  on  for  the  different  stories  and  sizes  of 
timbers.  The  stonework  and  cellar  windows  are 
shown. 


INSERT  FOLDOUT  HERE 


ARCHITECTURAL   DRAWING   SELF   TAUGHT  49 

has  been  offered  to  the  trade.  It  is  unchange- 
able, under  ordinary  conditions,  and  may  be 
made  into  angles  from  tV  to  /?  of  an  inch  thick, 
which  is  about  right  for  handiness  and  strength. 
There  are  very  few  woods  that  are  adapted  to 
this  purpose,  because  of  their  liability  to  warp 
and  twist,  and  generally  they  have  to  be  made 
too  thick  for  convenient  use.  The  same  rule 
holds  good  in  the  selection  of  a  T-square;  the 
blade  should  be  as  stiff  as  possible  and  the  edges 
not  more  than  }i  of  an  inch  thick;  when  the 
edges  are  thicker  it  is  difficult  to  draw  long 
parallel  lines,  particularly  with  the  pen,  as  the 
point  of  contact  between  the  pen  and  the  blade 
of  square  is  on  the  upper  corner,  while  the 
position  of  the  point,  when  the  pen  is  held 
vertically,  must  be  the  same  distance  from  the 
lower  corner  of  the  edge  of  the  blade  on  account 
of  the  angle  formed  between  the  side  of  the  pen 
and  the  edge  of  the  blade.  On  the  other  hand, 
it  is  not  advisable  to  have  the  edge  less  than  tV 
of  an  inch  thick;  this  would  bring  the  point  of 
contact  too  close  to  the  point  of  the  pen  and 
would  render  it  liable  to  smear  the  ink.  An 
excellent  T-square  patented  some  time  ago  has 
a  thin  piece  of  brass  plate  with  a  knife-edge 
inserted  in  the  working  edge  of  the  blade.     This 


50  ARCHITECTURAL    DRAWING    SELF   TAUGHT 

does  very  well  when  only  a  pencil  is  used,  but  a 
pen  cannot  be  worked  successfully  against  so 
thin  an  edge.  A  blade  made  of  two  different 
kinds  of  wood  similar  to  that  shown  in  Fig.  12, 
such  as  a  mahogany  center  and  ebony  edges, 
while  being  excellent  in  their  way,  are  liable  to 
warp  and  "buckle"  and  require  watching. 
Squares  with  swivel  butts  are  ver>'  convenient 
for  certain  kinds  of  work,  but  for  general  pur- 
poses and  for  such  students  as  this  book  is 
intended,  the  swivel  stock  had  better  be 
eschewed.  It  is  much  more  convenient  to  have 
the  blade  secured  to  the  stock  as  shown  at  A 
and  C,  Fig.  8,  than  to  have  it  dovetailed  or 
mortised  into  the  stock  as  shown  ^t  B,  Fig.  8. 
By  this  means  the  upper  surface  of  the  stock  is 
on  the  same  level  as  the  drawing-board  and 
does  not  interfere  with  the  angles  or  scales 
when  working  near  it. 

Perhaps  the  most  troublesome  appendage  to  a 
draftsman's  outfit  is  found  in  the  many  forms  of 
porcelain  ink  saucers  and  "piles."  For  holding 
and  mixing  soft  colors  the  pile  of  saucers  does 
very  well,  but  it  takes  a  long  time  to  rub  ink  by 
this  method  before  a  good  black  ink  is  produced 
as  the  smooth  bottom  of  these  dishes  does  not 
abrade    the    stick    of    ink    rapidly.     There    are 


ARCHITECTUKAL    DRAWING    SELF   TAUGHT 


51 


a 


several  preparations  of  liquid  ink  that  may  be 
purchased,  but  they  lack  that  solid  black  body 
in  fine  lines  that  is  so  necessary  for  drawings  or 
tracings  that  have  to  be  copied  q^  ^ 
by  the  blue  printing  process.  Pre- 
pared liquid  ink  requires  a  longer 
time  to  dry  and  is  more  liable  to 
smear  than  ink  made  fresh  from 
the  stick.  There  is  an  ink  saucer 
made  by  a  firm  in  New  York  City 
that  seems  to  meet  all  require- 
ments. It  Is  simply  a  slab  of  slate 
about  four  inches  square  and  three- 
fourths  of  an  inch  thick,  having  a 
cup  or  saucer  shaped  cavity  for 
holding  the  ink  turned  in  its  cen- 
ter, and  covered  over  with  a  piece 
of  plate  glass.  A  good  black  ink 
may  be  mixed  in  this  saucer  in  a 
few  minutes  by  the  grinding  action 
of  the  slate  on  the  stick  when 
being  rubbed.  While  it  is  quite 
necessary  to  have  the  ink  with  some 
"body"  in  it,  it  is  not  best  to  make  it  too  thick, 
as  it  will  not  flow  well  then,  and  will  be  apt  to 
dry  too  quickly  and  clog  up  the  pen. 

When  the  ink  is  ready  to  use,  a  portion  of  it 


52 


ARCHITECTURAL   DRAWING   SELF   TAUGHT 


may  be  inserted  between  the  nibs  of  the  pen 
until  there  is  about  as  much  ink  in  the  pen  as 
shown  by  the  shaded  part  in  Fig.  26,  where  two 
pens  are  shown,  one  charged  and  one  empty. 
The  ink   may  be  put  in   the  pen  by  the  aid  of  a 


Fig.  27. 

camel  hair  or  sable  brush,  such  as  shown  in  Fig. 

27,  which  is  full  size.  Clean  off  all  superfluous 
ink  from  the  outside  of  the 
nibs  of  the  pen  with  a  piece 
of  chamois  leather  or  a  clean 
linen  cloth,  and  you  are 
ready  for  work.  The  pen 
may  be  filled  by  another 
method  which  is  often 
adopted  by  draftsmen,  as 
follows:  Take  the  pen  and 
open  it,  say,  about  a  six- 
teenth of  an  inch,  clean  the 
nibs  well  with  chamois,  then 
close  the  pen  with  the  screw 
until   the   light   just    shows 

between  the  nibs,  then  breathe  gently  between 

the  nibs  and  dip  them  carefully  into  the  ink,  just 


Fig.  28. 


ARCHITECTURAL  DRAWING  SELF  TAUGHT      53 

touching  the  surface  of  the  liquid,  and  the  ink 
will  run  up  between  the  nibs  by  attraction  of  the 
moisture  caused  by  the  breath  on  the  inside  of 
the  nibs. 

We  suppose  the  paper  *to  be  stretched  on  the 
drawing  board,  and  either  held  in  place  by  beings 
pasted  or  by  thumb  tacks,  such  as  shown  in  Figs. 
4  and  5.  When  all  is  ready,  hold  the  pen  as 
shown   in   Fig.   28,   and  carefully  ink   in   all   the 


Fig.  29. 

horizontal  lines,  both  full  and  dotted,  correcting 
where  possible  any  slight  irregularities  that  may 
have  been  niade  in  pencilling.  In  drawing  the 
graduated  lines.  Fig.  29,  begin  with  the  thinnest, 
then  with  the  middle  finger,  as  shown  in  Fig.. 
28,  turn  the  screw  of  the  pen  back,  say,  about  a 
quarter  of  a  revolution  for  each  of  the  others,, 
the  last  opening  being  about  the  right  thickness 
for  the  border  line.  As  the  border  line  takes 
longer  to  dr}-  it  is  very  easy  to  smear,  but  of 
course  this  may  be  avoided  by  letting  the  ink 
dry  while  preparing  the  ink-leg  for  the  com- 
passes.    It   is  well   to   practice    this   method    o£ 


54 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


■drawing  lines  a  number  of  times  until  a  certain 
amount  of  perfection  is  attained. 

In    drawing   circles,    care    must   be   taken    in 
holdin<^  the  compasses  in  order  to  get  an  even 


Fig.  30.  Fig.  31. 

thickness  of  lines,  and  the  pen  should  always 
stand  vertically  over  the  work,  as  shown  in  Fig. 
30.  When  a  number  of  circles  drawn  from  a 
common  center  is  necessary,  as  shown  in  Fig.  31, 
be  sure  to  draw  the  outside,  or  the  one  having 


Fig.  32. 

the  greatest  radius,  first,  when  the  other  circles 
may  follow  in  regular  order.  The  sharp  curves 
as  shown  in  Fig.  31  are  always  the  most  difficult 
to  draw  correctly,  while  the  flat  curves,  or 
curves  with  greater  radius,  are,  within  certain 
limits,  much  easier  to  describe.  The  curves 
shown  at  Fig.  32  are  flat  ones,  and  well  within 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


55 


the  range  of  the  ordinary  compass.  The  inner 
curve  is  "dotted"  and  to  form  this  without  a 
dotting  pen,  with  any  degree  of  regularity, 
requires  considerable  care  and  practice,  but  it  is 
much  better  to  make  all  dotted  lines  with  the 
ordinary  pen,  than  to  make  use  of  a  dotting  pen, 
which  to  a  new  beginner  is  generally  a  source  of 


Fig.  33- 


F:g.  34. 


Fig.  33- 


trouble  and  disappointment.  The  examples  of 
circles  shown  at  Figs,  t^t,,  34  and  35  offer  good 
practice  in  curve  drawing  with  the  compasses.- 
Before  drawing  them,  however,  it  will  be  best  to 
draw  a  pair  of  center  lines  for  each  circle,  cutting" 
each  other  at  right  angles  in  the  center,  and  it 
is  a  good  rule  never  to  draw  a  circle  under  any 
circumstances  without  having  two  center  lines  to 
mark  its  proper  situation.  In  the  first  circle, 
Fig,  33,  mark  off  points  one  quarter  of  an  inch 
apart  along  one  of  the  diameters  from  the 
circumference  to  the  center,  and  then  describe 
the  concentric  circles  with  the  compasses,  taking 


56  ARCHITECTURAL    DRAWING   SELF  TAUGHT 

care  not  to  bore  a  large  hole  through  the  paper 
"with  the  point.  The  compasses,  if  properly 
•sharpened,  should  barely  penetrate  the  paper 
and  leave  no  impression  on  the  board. 

To  fill  up  the  middle  circle,  Fig.  34,  set  the 
compasses  to  the  radius,  and  then,  putting  the 
point  at  the  intersection  of  one  of  the  center 
lines  with  the  circumference,  mark  across  the 
circumference  on  each  side;  do  the  same  at  each 
intersection  of  the  center  line  with  circumference, 
and  it  will  be  found  that  the  circumference  is 
then  divided  into  twelve  equal  parts.  Now 
join  each  opposite  joint  by  a  line  passing 
through  the  center  and  the  figure  will  be 
complete. 

The  last  figure  to  be  drawn,  Fig.  35,  is  the 
most  difficult,  but  has  the  best  effect,  so  it  is 
worth  taking  some  pains  over.  Draw  the  two 
center  lines,  put  in  the  large  circles  and  divide 
the  horizontal  diameter  into  %  in.  spaces.  Take 
the  small  compass,  set  it  to  %  in.  radius,  and 
then  put  in  the  smallest  semicircle  on  each  side. 
Then  set  it  to  >^  in.  radius,  and  put  in  the  next 
semicircle;  then  to  '^^  in.  radius  for  the  next  two 
semicircles,  which  should  exactly  meet  at  the 
center.  Now  to  i  in.  radius,  and,  lastly  to  1%  in. 
radius,    checking    the    curves    before    actually 


ARCHITECTURAL    DRAWING   SELF  TAUGHT 


57 


drawing  them,  by  seeing  how  they  fit  with  those 
already  drawn. 

Here  is  an  example,  Fig.  36,  made  up 
altogether  with  curved  lines  and  which  offers 
good  practice.  This  re- 
quires accurate  division 
and  correct  draftsman- 
ship. 

A  few  practical  exam- 
ples of  the  use  of  curves 
are  shown  in  the  follow- 
ing figures:  Fig.  2>1 
shows  a  scheme  by  which  '^'  ^ 

an  ornament  may  be  constructed  where  all  the 


f'ig.    37- 


58 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


curves  are  drawn  with  one  radius.  The  manner 
of  getting  the  centers  is  shown  by  the  dotted 
lines.  Figs.  38  and  39  exhibit  another  combina- 
tion of  curves  which  is  easy  to  draw.  To  make 
Fig-  39  is  perhaps  the  easiest  of  them  all,  as  it 
is  formed  of  curves  drawn  with  one  point  of  the 


— -^^^=— [— <"- — 1 


Fig.  38. 


compass  rbsting  on  one  corner  of  each  of  the 
smaller  squares  which  are  shown  by  the  dotted 
lines. 

The  three  examples  shown  in  Figs.  40,  41,  and 
4.2  are  a  little  more  difficult  to  draw  than  the 
•«j>revious  ones.  Fig.  40  may  be  termed  a  trefoil 
ornament,  as  the   central    divisions  are    drawn 


ARCHITECTURAL   DRAWING    SELF   TAUGHT 


5& 


from  the  three  points  of  an  equilateral  triangle, 
which   is  shown   by  the  dotted  lines.     This  style 


of  an  ornament 
is  in  frequent 
use  in  church 
work  as  the  tri- 
angle is  sup- 
posed to  be 
symbolic  of  the 
Trinity.  The 
student  should 
copy  this  often 
enough  so  that 


Fig.  40. 


■60  ARCHITECTURAL    DRAWING   SELF   TAUGHT 

he     can    draw   or    describe    it    from    memory 
alone. 

Fig.  41  is  simple  enough  when  the  principle  is 
understood.     The  circles  inside  are  drawn  from 


Fig.  41. 

six  centers,  or  from  the  six  points  of  a  hexagon. 
Care  must  be  taken  not  to  cross  the  lines  at  the 
intersections  of  the  circles,  when  such  crossings 
are  not  intended.     This  will  give  good  practice. 

Fig.  42  is  somewhat  complicated,  but  it  is 
surmised  that  no  trouble  will  be  found  in  the 
formation  of  the  ornament;  at  least,  there 
ought  not  to  be,  if  the  student  has  been  mindful 
of  what  has  gone  before. 

There  are  many  situations  in  which  a  curved 


ARCHITECTURAL   DRAWIXG   SELF  TAUGHT 


61 


line  is  required  that  calls  for  more  or  less  skill 

to  properly  adjust  to  the  purpose,  and  in  order 

to  arm  the  student  with  the  proper  knowledge 

to  find   centers  for  this  purpose,  the  following 

problem  is  laid  before^  him:     Suppose  we  have 

three  points  that  are  not  in  a  straight  line,  as 

ABC,    Fig.    43. 

through    which 

w  e    want     to 

draw  a  portion 

of  a  circle.   Let 

BHCbeachord 

of  the  segment 

H,  and   BJA  a 

chord  enclosing 

t  n  e     segment. 

Bisect  or  divide 

m   equal    parts 

the    chord    BC 

at   H,   and  square  down   from  this   point  to    D. 

Do  the  same  with  the  chord  AJB,  squaring  over 

from  J  to  D,  then   the  point  where  JD  and  HD 

intersect  will  be  the  center  of  the  circle. 

This  is  a  very  important  problem,  and  will  be 
found  useful  in  many  ways. 

The  same  result  may  be  obtained  by  the  use 
of  the  compasses  alone  as  may  be  seen  as  follows- 


62 


ARCHITECTURAL    DRAWING    SELF   TAUGHl 


Suppose  AB,  Fig.  44,  to  be  the  curve,  from  the 
point  A  and  B  strike  ares  of  equal  radius  inter- 


Fig.  43- 

seating  at  c  and  d,  and  draw  a  line  through  the 
intersections  cutting  the  arc  at  c.     This  line  will 

pass  through  the 
center.  Then  from 
points  €  and  b,  with 
a  rather  shorter  ra- 
dius, strike  arcs  in- 
tersecting at/ and  ^, 
draw  a  line  through 
these  intersections, 
and  where  the  pre- 
vious line  is  cut  will 
be  the  center  as  shown    at   h. 

A  practical  application  of  this  example  may  be 


ARCHITECTURAL    DRAWING   SELF   TAUGHT 


=^J» 


used  on  Fig.  45,  where  it  is  desired  to  round  off 
a  corner  as  shown  at  BAC.     The  center  of  the 

curve  is  shown  at  O, 
from  which  the  curve 
is  struck. 

Fig.  46  shows  the 
method  just  described 
appHed  to  three 
straight  Hnes  form- 
ing two  right  angles 
and  having  two  adja- 
cent corners  rounded. 
Fig.  47  shows  how 


Fig.  45. 


to  deal  with  two  parallel  lines  that  are  to  be  joined 
tangentially  by  a  semicircle.  In  this  case  bisect  the 
space  between  the  two  lines  by  a  perpendicular 
line  that  must  contain  the  center  of  the  circle  from 


F'g  46.  Fig.  47.  Fig.  48.  Fig.  49. 

which  the  required  circle  is  drawn.  Determine 
the  extreme  position  of  the  curve  and  mark  from 
it,  along  the  center  line,  a  distance  equal  to  half 
the  distance  between   the  lines,  and  this  mark 


64  ARCHITECTUKAL   DRAWING   SELF  TAUGHT 


PLATE  4. 

This  plate  shows  the  disposition  ot  the  joists 
in  first  and  second  stories,  also  the  position  of 
rafters  and  ridges  on  the  roof.  These  sketches 
show  the  trimmers  for  fireplace  and  stairs.  The 
manner  of  drawing  is  very  simple  and  should 
offer  no  difficulties  to  the  student. 


INSERT  FOLDOUT  HERE 


IRCHiTECTURAL    DRAWING    SELF   TAUGHT  65 

will  be  the  center  of  the  required  circle.  The 
example  shown  at  Fig.  48  is  a  little  more  difficult 
to  deal  with,  as  in  this  figure  the  lines  which  it  is 
desired  to  join  b}*  a  curve,  are  not  at  right 
angles.  Therefore  inside  these,  and  at  a 
distance  from  them  equal  to  the  radius  of  the 
curve  which  it  is  desired  to  use,  draw  two 
parallel  lines.  To  do  this,  take  the  radius  in  the 
compasses  and  strike  two  arcs  at  some  distance 
apart  along  the  inside  of  each  line.  Tangent  to 
these  draw  the  two  inner  straight  lines  shown 
dotted,  and  their  intersection  will  give  the 
center  required.  The  exact  points  of  junction 
of  the  straight  lines  with  the  curve  can  be  found 
by  drawing  perpendiculars  from  the  center  to 
the  straight  lines  by  the  method  shown  on  the 
left  hand  side  of  Fig.  48. 

The  illustration.  Fig.  49,  on  the  left  side,  is 
exactly  similar  to  Fig.  48  with  the  exception  that 
it  represents  a  sharper  angle  than  that  shown  by 
the  angle  or  corner  of  the  previous  exam.ple. 

At  Fig.  50  is  shown  a  method  of  joining  a 
curve  to  a  straight  line  by  a  smaller  curve.  In 
this  example,  after  drawing  the  given  straight 
line  and  circle,  set  the  compasses  to  the  required 
radius,  and  from  any  point  in  the  circumference 
of   the   circle   describe   a   short    arc   outside   it. 


66 


ARCHITECTURAL    DRAWING   SELF  TAUGHT 


From  the  center  of  the  circle  draw  a  straight  line 
through  this  last  point,  and  its  intersection  with 
the  arc  will  give  the  radius  of  an  arc  concentric 
with  the  large  circle,  which  must  be  drawn 
towards  the  given  line.  Then,  with  the  required 
radius,  again  set  off  arcs  from  the  given  line  to 
give  a  parallel  line,  as  in  Figs.  47  and  48.  The 
intersection  of  this  parallel  line  with  the  larger 
arc  will  give  the  center  to  use  for  the  connecting 


Fig.  so.  Fig.  51.  Fig.  52. 

curve.  In  every  case  it  will  be  observed  that  the 
perpendicular  line  from  the  center  ot  the 
junction  curve  to  the  line,  or  the  line  joining  the 
centers  of  the  two  curves,  will  give  the  exact 
termination  of  the  junction  curve. 

Fig.  51  is  practically  the  same  as  Fig.  49  with 
different  radii. 

-^ig.  52  shows  two  circles  of  different  size 
joineci  hy  ^ wo  curves  of  equal  radii  set  off  upon 
the  same  principle'  as  Figs.  50  and  51. 

Fig.  53  shows  a  straitrHt-  line  cutting  a  circle 


ARCHITECTURAL    DRAWING   SELF   TAUGHT  67 

and  joined  by  small  curves  on  the  inside.  After 
drawing  the  circle  and  straight  line,  take  the 
required  radius  of  connecting  curve  and  draw  a 
short  arc  on  the  inside  of  large  curve — say,  ork 
the  center  line — and  from  the  main  center  draw 
an  arc  concentric  with  the  large  circle,  but  inside 
it.  Then,  with  the  required  radius,  obtain  a  line 
parallel  to  the  given  line,  and  the  intersections 


<.,  -••*,;••■ 

.  •    **%'.*■ 

/y% 

!     "•■•    .    '.^ 

;     >^/  " 

-  ,.V" '  • . 

'■*'^<^-\-- 

.  .c". 

i; .         *• 
Fig.  S3-  Fig.  54. 

of  this  parallel  line  with  the  large  arc  will  give 
the  centers  for  the  connecting  curves. 

Fig.  54  shows  two  given  parallel  straight  lines 
which  are  to  be  joined  by  an  ogee  or  reversed 
cur\'e.  Select  a  point  on  one  of  the  lines  from 
which  the  curves  may  start,  draw  a  horizontal 
line  and  also  an  inclined  line,  making  an  angle 
of  60  degrees  with  it.  The  latter  line  produced 
to  cut  the  other  given  straight  line  will  mark  the 
termination  of  the  curves.  Bisect  this  inclined 
line,  and  it  will  give  the  junction  point  between 
the  two  curves.  Bisect  each  half  of  the  inclined 
line   and   produce    the    bisection    to   meet   the 


B8  ARCHITECTURAL    DRAWING    SELF   TAUGHT 

horizontal   lines,    to   give    the   centers    for   the 

curves.     Before  drawing  the  curves,  join  these 

centers,  to  see   that    a   straight    line    will   pass 

exactly  through  the  junction  of  the  two  curves, 

and  then  put  in  the  curves  with  a  radius  equal 

to  half  the  length  of  the  inclined  line.     This  is 

a  very  useful  curve,  and  is  similar  to  those  used 

for  cross-over  roads  on  railways.     In  architecture 

the  best  curves  are  produced  from  conic  sections 

or  freehand.      Circular   curves    have    a    harsh 

appearance.      There'    are     nevertheless,    many 

cases  where  they  are  necessary  or  desirable. 

The  draftsman  will  often  be  called  upon  to 

describe  mouldings  of  various  kinds,  and  it  is 

proper  he  should  know  how  to  form  these  so 

that  they  may  accord  with  the  style  for  which 

they   are    intended,    whether    this    be    Greek, 

Roman,  or  otherwise. 

y^ '1 7^'--  The  following  exam- 

L<?,.L j.^  pies  are  old,  but  are 

r     ;C 

\     ;  of   a    kind  that   will 

\<^  always   be    in   vogue 

*:.*• and   it  is    but   fitting 

I'lg.  55. 

the  young  student 
and  workman  should  know  how  to  draw  them 
correctly. 

The  example  shown  at   Fig.  55  is  a  Scotia  or 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


69 


cove  and  is  drawn  as  follows:  Divide  a,  b  into 
three  equal  parts;  with  ^  as  a  center  and  the 
radius  c,  a,  describe  the  semi-circle  e,  a,  d.  Then 
with  ^  as  a  center 
and  d,  e  as  radius, 
describe  the  quad- 
rant e,  b,  then  a,  c, 
b,  will  form  the  line 
of  moulding. 

Fig.  56  shows  an- 
other    method    of 


Fig.  56. 


getting  a  deeper  moulding.    Let  a,  a,  be  the  upper 

line  and  c,  c,  the  lower;  from  a,  drop  a  perpendic; 

ular  to  c,  divide   a,   c,  into    seven   equal    parts; 

through  the  third  of  these,  from  a,  draw  a  line 

_  parallel  to  a,  a', 
from  b,  with  b,  a, 
draw  the  semicir- 
cle b,  d,  and  from 
d,  draw  to  e,  per- 
pendicular to  b,  d ', 
produce  a,  a,  to  e\ 
from  e,  as  a  center, 

r,  with  e,  ni,  as  radius,  describe  part  of    a  circle 

to  n. 

Fig.  57  shows  an  "echinus,"  or  "ovolo."     This 

is  one  of  the  most  useful  of  mouldings,  and  was 


70 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


employed  largely  by  the  Greeks  in  many 
positions.  Let  a,  b  be  the  two  points;  join  them 
by  a  line  a,  b\  divide  this  into  seven  equal  parts; 
from  b,  with  b,  c,  and  from  a,  with  the  same 
radius^  describe  arcs  cutting  in  c;  from  c,  with 
r,  a,  describe  the  arc  a,  b.  Another  method  of 
describing  an  ovolo  is  shown  at  Fig.  58.     Let  a, 

b,  and  c,  d,  be  the  two  horizontal  lines  of  the 

figure.  Divide  b,  d, 
into  four  equal  parts; 
make  d,  e,  equal  three 
of  these;  draw  e,  f\ 
then  with  any  radius 
greater  than  half  of 
d,f,  with  d,  and  f  as 
centers    respectively, 

describe  the  arc,  cutting  at  g,  from  which,  as  a 
center,  describe  the  arc,  d,f. 

At  Fig.  59  I  show  a  moulding  called  a 
"quirked  ovolo."  The  projection  in  this  case  is 
made  equal  to  five-sevenths  of  its  height,  as  seen 
by  the  divisions,  and  the   radius  of  the  circle  <5, 

c,  is  made  equal  to  two  of  the  divisions,  but 
other  proportions  may  be  taken.  Describe  the 
circle  b,  c,  forming  the  upper  part  of  the  contour, 
and  from  the  point  ^,  draw  ^,  h,  to  form  a 
tangent  to  the  lower  part  of  the  curve-     Draw 


ARCHITECTURAL   DRAWING   SELF   TAUGHT 


71 


^,   a,   perpendicularly  to  ^,   h,   and    make  g,  j'\ 
equal  to  the   radius  d,  c,  of  the  circle  b,  c\  joiny, 


Fig.  5Q. 


d,  by  a  straight  line,  which  bisect  by  a  line  per- 
pendicular to  it,  meeting^,  a,  in  a\  join  a,  d,  <)t)<i 


^  Fig.  60. 

produce  the  line  to  c.     Then  from  a,  as  a  center, 

with  the  radius  a,  c,  or  a,  g,  describe  the  curve  c,  g: 

Fig.  60  is   a  method  where  the  tangent  d,  e. 


72 


ARCHITECTURAL   DHAWING   SELF  TAUGHT 


and  the  projections  are  given.  Through  the 
point  of  extreme  projection  b,  draw  the  vertical 
line  £■,  /^,  and  through  b,  draw  b,  c,  parallel  to  §;, 
h,  and  produce  it  to  a,  making  c,  a,  equal  to  c,  d. 
Divide  e,  b,  and  c,  b,  each  into  the  same  number 


Fig.  6i. 


of  equal  parts,  and  through  the  points  of  division 
in  c,  b,  draw  from  a,  straight  lines,  and  through 
the  points  of  division  in  c\  b,  draw  from  d,  right 
lines,  cutting  those  drawn  from  a.  The  inter- 
sections will  be  the  points  through  which  the 
curve  is  traced. 

In  Fig.  6i  I  exhibit  a  method  of  describing  the 


ARCHITECTURAL    DRAWING   SELF   TAUGHT 


73 


hyperbolic  ovolo  of  the  Grecian  Doric  capital, 
the  tangent  a,  c,  and  projection  b  being  given. 
Draw  d,  c,  g-,  k,  a,  perpendicular  to  the  horizon 
and  draw  g,  h,  and  e,  f,  at  right  angles  to  d,  e,  g, 
k,  a.  Make  g,  a  equal 
to  g;  d,  and  e,  k  equal 
to  d,  e\  join  Jt,  k.  Di- 
vide h,  k  and  /,  h  into 
the  same  number  of 
parts,  and  draw  lines 
from  a,  through  the 
divisions  of  k,  h,  and 

lines  from  d  through  the  divisions  of  f,  h,  and 
their  intersections  are  points  in  the  curve. 

In  Figs.  62  and  63  I  show  a  cove  or  "cavetto" 

mould.     To  de~ 


Fig.  62. 


a 


\6       scribe   it  let  ab, 
:  cd,    Fig.  63,    be 

N.  the  lines  at  top 
f  \  and  bottom. 
JV./  From  b,  draw  to 
d,  perpendicular 
to  a,  b\  divide  bd, 
into  three  equal  parts;  from  d,  lay  on  dc  to  e 
equal  to  two  of  these  parts;  join  be,  from  e  and 
b,  with  radius  greats  than  half  eb,.  draw  arcs 
cutting  in/;  from/  with  /  b,  draw  the  arc  be. 


Fig.  63. 


74 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


Another  method  of  describing  this  moulding  is 
shown  at  Fig.  64.  ab  and  cd,  are  the  two  lines, 
divide   the  perpendicular  into  five  equal  parts, 

make  de  equal  to 


t 


c- Jei-^-^"i^ 

Fig.  64. 


five  of  these  and 
proceed  as  in  the 
last  example. 

The  next  exam- 
ple is  the  cyma 
recta  moulding. 
This  is  considered 
the  most  beautiful  of  mouldings;  and  this  figure 
is  the  simplest  form,  and  is  easily  described;  ab^ 
and  cd,  Fig.  65,  are  top  and  bottom  lines  of  the 
moulding,  be  the  height  and  de  the  projection. 
EHvide  the  line  d, 

i^jnb   into    twelve     ^^       ~"  "^^^ 

equal  parts;  take 
six  of  these  parts 
as  radius,  with  b 
and  6  as  centers, 
describe  the  arcs 
gy  with  8  as  a  center,  and  the  same  radius, 
describe  the  arc  6jb,  then  with  i  and  6  as  centers 
describe  the  arcs  at  h,  with  k  as  a  center,  describe 
the  arc  d,  6. 

Fig.   66  shows    a  cyma  recta  formed   by   two 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


75 


opposite  curves,  shown  by  the  use  of  ordinates. 

By   taking   a   greater   number   of  points    than 

shown,  as   centers,  the  figure  will  resemble  an 

elliptical  curve.      The  manner  of  drawing  the 

curves  is  shown   on    the   diagram  and   may  be 
easily  followed. 


Fig.  66. 

F"ig.  67  shows  a  cyma  recta  formed  with  true 
elliptical  quadrants.  These  curves  may  be 
obtained  by  following  the  lines  in  the  diagram, 
or  by  any  of  the  methods  given  for  obtaining 
elliptical  curves.  This  moulding  can  best  be 
described  by  the  use  of  a  trammel,  an  instrument 
1  will  describe  later  on;  or  the  curve  may  be 
obtained  by  the  use  of  the  ellipsograph,  shown 
in  Fig.  18. 


76 


ARCHITECTURAL    DRAWING   SELF   TAUGHT 


These  examples  will  fully  suffice  to  give  the 
learner  good  practice  on  circular  curves,  as  by  a 
combination  of  these,  nearly  every  form  of 
moulding  may  be  made.  A  few  words  on 
elliptical  and  some  of  the  higher  curves  may 
not  be  amiss,  but  I  do  not  think  it  wise  to  over- 


Fig.  67. 

burden  this  work  with  examples  and  instructions 
that  the  ordinary  draftsman  or  workman  may 
never  be  called  upon  to  make  use  of. 

One  of  the  simplest  methods  of  forming  an 
ellipse  is  by  the  aid  of  two  pins,  a  string  and  a 
lead  pencil  as  shown  at  Fig.  68.  Suppose  F  B 
to  be  the  major  or  longest  axis,  or  diameter,  and. 
D  C  the  minor  or  shorter  axis  or  diameter,  and 
E  and   K  the  two  foci.     These  two  points  are 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


77 


obtained  by  taking  the  half  of  the  major  axis  A 
B  or  F  A  on  the  compasses,  and,  standing  one 
point  at  D,  cut  the  points  E  and  K  on  the  Hne  F 
B,  and  at  these  points  insert  the  pins  at  E  and 
K  as  shown.  Take  a  string  as  shown  by  the 
dotted  Hnes  and  tie  to  the  pins  at  K,  then  stand 


the  pencil  at  C  and  run  the  string  round  it  and 
carry  the  string  to  the  pin  E,  holding  it  tight 
and  winding  it  once  or  twice  round  the  pin,  and 
then  holding  the  string  with  the  finger.  Run 
the  pencil  around,  keeping  the  loop  of  the  string 
on  the  pencil,  and  it  will  guide  the  latter  in^the 
formation  of  the  curve  as  shown.  When  one- 
half  of  the  ellipse  is  formed,  the  string  may  be 
used  for  the  other  half,  commencing  the  curve 
at  F  or  B,  as  the  case  may  be,     This  is  commonly 


78 


ARCHITECTURAL    DRAWING    SELF  TAUGHT 


called  "a  gardener's  oval,"  because  gardeners 
make  use  of  it  for  forming  ornamental  beds  for 
flowers,  or  in  making  curves  for  walks,  etc.,  etc. 
This  method  of  forming  the  curve  is  based  on 
the  well-known  property  of  the  ellipse  that  the 
sum  of  any  two  lines  drawn  from  the  foci  to 
their  circumference  is  the  same. 

The    illustration   shown  at    F"ig.   69   shows   a 
trammel   and   the   method  of  using  it  which  is 

very  simple.  The  in- 
strument consists  of 
two  principal  parts, 
the  fixed  part  in  the 
form  of  a  cross  as 
C  D,  A  B,  and  the 
movable  tracer  H  G. 
The  fixed  piece  is 
made  of  two  triangular  bars  or  pieces  of  wood 
of  equal  thickness,  joined  together  so  as  to 
be  in  the  same  plane.  On  one  side  of  the 
frame  when  made,  is  a  groove  forming  a 
right-angled  cross;  the  groove  is  shown.  In 
this  groove,  two  studs  are  fitted  to  slide 
easily.  These  studs  are  to  carry  the  tracer  and 
guide  it  on  proper  lines.  The  tracer  may  have 
a  sliding  stud  on  the  end  to  carry  a  lead-pencil, 
or  it  may  have  a  number  of  small  holes  passed 


ARCHITECTURAL.   DRAWING    SELF   TAUGHT 


79 


through  it,  as  shown  in  the  cut,  to  carry  the 
pencil.  To  draw  an  ellipse  with  this  instrument, 
we  measure  off  half  the  distance  of  the  major 
axis  from  the  pencil  to  the  stud  G,  and  half  the 
minor  axis  from  the  pencil  point  to  the  stud  H, 
then  swing  the  tracer  round,  and  the  pencil  will 
describe  the  ellipse  required.  The  studs  have 
little  projections  on  their  tops,  that  fit  easily  into 
the  holes  in  the  tracer,  but  this  may  be  done 
away  with,  and  two 
brad-awls  or  pins  may 
be  thrust  through  the 
tracer  and  into  the 
studs,  and  then  proceed 
with  the  work.  With 
this  instrument  an  el- 
lipse may  easil}-  be  de- 
scribed. 

A  figure  that  approximates  an  ellipse  may  be 
described  by  the  compasses,  and  it  is  well  for 
the  draftsman  to  acquaint  himself  with  the 
manner  in  which  this  is  done,  and  to  this  end  I 
submit  perhaps  the  most  useful  method  for  this 
purpose.  Let  us  describe  the  oval  shown  at 
Fig.  70.  Lay  off  the  length  C  D,  and  at  right 
angles  to  it  and  bisecting  it  la}'  off  the  width  A 
B.     On  the  larger  diameter  lay  off  a  space  equal 


Igli  ARCHITECTURAL   DRAWING   SELF  TAUGHT 


PLATE   5. 

This  elevation  shows  the  front  and  side  eleva- 
tion of  the  cottage  in  finished  order.  Two  styles 
of  drawing  are  shown,  the  one  being  in  plain  line 
and  the  other  shaded.  I  would  not  advise  the 
student  to  attempt  shading  until  such  time  as  he 
feels  assured  he  can  make  a  presentable  piece 
of  work.  Of  course,  I  mean,  he  should  not 
attempt  to  shade  any  drawings  for  exhibition 
until  he  has  had  good  practice  on  preliminary 
work.    This  plate  is  a  very  good  one  to  copy. 


INSERT  FOLDOUT  HERE 


ARCHITECTURAL   DRAWING   SELF   TAUGHT  81 

to  the  shorter  diameter  or  width,  as  shown  by  D 
E.  Divide  the  remainder  of  the  length  or  larger 
diameter  E  C  into  three  equal  parts;  with  two 
of  these  parts  as  a  radius,  and  R  as  a  center, 
strike  the  circle  GSFT.  Then,  with  F  as  a 
center  and  F  G  as  a  radius,  and  G  as  a  center 
and  G  F  as  radius  strike  the  arcs  as  shown, 
intersecting  each  other  and  cutting  the  line 
drawn  through  the  shorter  diameter  at  O  and 
P  respectively.  From  O,  through  the  points 
G  and  F,  draw  OL  and  OM,  and  likewise  from 
P  through  the  same  points  draw  PK  and  PX. 
With  O  as  center  and  OA  as  radius,  strike  the 
arc  LM,  and  with  P  as  center  and  with  like 
radius,  or  PB  which  is  the  same,  strike  the  arc 
KN.  With  F  and  G  as  centers,  and  with  F  D  and 
C  G  which  are  the  same,  for  radii,  strike  the 
arcs  NM  and  K  L  respectively,  thus  completing 
the  figure. 

The  oval  is  not  an  ellipse,  nor  are  any  of  the 
figures  obtained  by  using  the  compasses,  as  no 
part  of  an  ellipse  is  a  circle,  though  it  may 
approach  closely  to  it.  The  oval  may  sometimes 
be  useful  to  the  draftsman,  and  it  maybe  well  to 
illustrate  one  or  two  methods  by  which  this 
figure  may  be  described. 

Let  us  describe  a  diamond  or  lozenge-shaped 


82 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


figure,  such  as  shown  at  Fig.  71,  and  then  trace 
a  curve  Inside  of  it  as  shown,  touching  the  four 
sides  of  the  figure,  and  a  beautiful  egg-shaped 
curve  will  be  formed.  For  effect  we  may 
elongate  the  lozenge  or'  shorten  it  at  will, 
placing  the  shorter  diameter  at  any  point. 


Fig.  71. 


An  egg-shaped  oval  may  also  be  inscribed  in 
a  figure  having  two  unequal  but  parallel  sides, 
both  of  which  are  bisected  by  the  same  line, 
perpendicular  to  both  as  shown  in  Fig.  72. 
These  few  examples  are  quite  sufficient  to  satisfy 
the  requirements  of  the  ordinary  draftsman,  as 
they  give  the  key  by  which  he  may  construct 
any  oval  he  may  ever  be  called  upon  to  form. 


ARCHITECTURAL    DRAWING    SELF   TAUGHT  83 

Scrolls  often  have  to  be  drawn  by  draftsmen, 
and  these  may  be  obtained,  more  or  less 
accurately,  by  various  methods.  One  method 
employed,  is  by  making  use  of  two  lead  pencils 
well  sharpened  and  arranged  as  shown  in  Fig. 
']'}^.  A  piece  of  string  is  tied  tightly  around  one 
of  the  pencils  and  wound  around  the  conical  end 
as  shown,  while  the  point  of  the  second  pencil 


Fig.  72.  Fig.  73. 

either  pierces  the  string  or  the  string  is  looped 
to  hold  the  pencil,  near  the  other  pencil,  which 
leaves  the  arrangement  ready  for  work.  To 
draw  the  scroll  the  pencils  must  be  kept  vertical, 
the  point  of  the  first  kept  firmly  in  the  hole  or 
center  of  the  figure,  and  the  second  pencil  must 
then  be  carried  around  the  first,  with  the  mark- 
ing point  held  in  touch  with  the  paper,  the 
distance  between  the  two  increasing  regularly  as 
the  string  unwinds. 

This  is  a  rough-and-ready  means  of  drawing  a 


84 


ARCHITECTURAL    DRAWING    SELF  TAUGHT 


scroll,   but   it    has   the   quality   of    being   fairly 
correct. 

Another  similar  method  is  shown  in  Fig.  74, 
only  in  this  case  the  string  unwinds  from  a  spool 
on  a  fixed  center  A,  D,  B.  Make  loop  E  in  the 
end  of  the  thread,  in 
which  place  a  pencil 
as  shown.  Hold  the 
spool  firmly  and  move 
the  pencil  around 
i  t ,  unwinding  the 
thread.  A  curve  will 
be  described,  as 
shown  in  the  lines. 
It  is  evident  that  the 
proportions  of  the 
figureare  determined 
by  the  size  of  the  spool.  Hence  a  larger  or 
smaller  spool  is  to  be  used,  as  circumstances 
require. 

A  simple  method  of  forming  a  figure  that 
corresponds  to  the  spiral  somewhat  is  shown  in 
Fig-  75'  This  is  drawn  from  two  centers  only,  a 
and  e,  and  if  the  distance  between  these  centers 
is  not  too  great,  a  fairly  smooth  appearance  will 
be  given  to  the  figure.  The  method  of  describ- 
ing is  simple.     Take  ai  as  radius  and  describe 


Fig.  74. 


s 

ARCHITECTURAL   DRAWING   SELF  TAUGHT  85 

a  semicircle;  then  take  ei  and  describe  semi- 
circle 12  on  the  lower  side  of  the  line  AB.  Then 
with  3.2  as  radius  describe  semicircle  below  the 
line  AB;  lastly  with  a3  as  radius  describe  semi- 
circle above  the  line  and  the  figure  is  complete. 
These  examples,  and  what  may  be  deduced 
from  them,  will  be  quite  enough  to  satisfy  the 
'-'^'luirements  of  the  draftsman  who  does  not 
intend  to  follow  this  art  further  than  as  an  aid 


Fig.  75. 

to  his  profession  as  a  builder  and  workman,  so 
now  I  will  offer  a  few  pages  on  straight  line 
work. 

LINE    WORK 

In  previous  pages  I  gave  a  few  suggestions 
regarding  line  work  done  with  the  ruling  pen, 
and  I  now  supplement  them  by  submitting  the 
following  examples  numbered  from  Fig.  76  to 
78  inclusive,  which    the    student    is  advised  to 


86 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


draw  and  redraw,  first  by  measuring  off  the 
distances,  and  then  by  attempting  to  get  the 
exact  distances  without  measurement.  If  the 
Hnes  in  the  examples  are  placed  less  than  one- 
sixteenth  of  an  inch  apart,  they  will  appear,  at  a 
little  distance,  like  an  even  tint  of  shading,  and 
the  closer  they  are  the  more  difficult  will  it  be 
to  get   the   appearance  quite  uniform,  but  this 


Fig.  76. 


Fig.  77- 


Fig.  78. 


kind  of  work  makes  excellent  practice  for  the 
pen. 

These  examples  are  selected  from  a  large 
number  of  possible  combinations,  as  giving 
variety  of  practice  while  not  appearing  too 
difficult.  They  are,  however,  more  difficult 
than  they  appear,  so  that  they  must  be  com- 
menced with  the  determination  to  produce  very 
neat  and  accurate  drawings. 

After  drawing  the  border  line  in  pencil,  ^  in. 
from  each  edge  of  the  paper,  find  by  measure- 
ment the  center  of  the  paper,  so  that  the  second 


ARCHITECTURAL    DRAWING    SELF   TAUGHT  87 

square,  Fig.  77,  may  be  placed  in  the  middle, 
rule  a  horizontal  line  for  the  square  to  rest 
upon,  draw  the  middle  one  in  outline  first,  and 
then  the  others,  each  measuring  3  in.  along  one 
side.  The  spaces  between  the  border  line  and 
each  of  the  squares  should  be  equal.  In  the 
upper  half  of  the  first  square,  Fig.  76,  mark  off 
equal  divisions  of  ^4  iii-  each,  and  draw  hori- 
zontal lines;  then,  in  the  lower  half,  mark  off 
similar  distances  and  draw  vertical  lines.  In 
the  second  square.  Fig.  76,  equal  distances  must 
be  set  off  from  each  of  the  sides,  and  parallel 
lines  drawn,  so  as  to  make  a  number  of  com- 
plete squares.  These  should  be  drawn  with  a 
fine  chisel-pointed  pencil,  and  then  tested  by 
drawling  diagonal  lines  from  opposite  corners. 
If  the  squares  have  been  correctly  set  out,  all  the 
angles  will  be  upon  one  or  other  of  the  diagonal 
lines.  In  the  third  square,  Fig.  y8,  the  inner 
squares  are  drawn  with  their  angles  tangent  to 
the  sides  of  the  one  next  larger.  If  very  fine 
pencil  lines  are  drawn  across  opposite  angles  of 
the  outer  square,  and  then  two  other  lines 
bisecting  the  sides,  it  will  be  found  eas}^  to  join 
up  the  inner  squares  to  the  points  so  found. 

After  the  squares  are  completed  in  pencil,  fill 
in  or  line  over  with  the  ruling  pen  and  ink. 


88 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


The    set   of    lines   shown    at    Fig.    79   are  of 
different  strength  or  breadth,  all  of  which  may 

be  drawn  by  a  skil- 

'  ful  use  of  the  pen. 

i^at^mmmmBam^ma^^^mam^mmm        ^^    simple  WOrk    of 

this  kind  the  lines 
need  not  be  pen- 
ciled only  perhaps, 
to  define  the  limits 
of  the  lines. 

Fig.    80    gives 
—      practice    in    draw- 
■^■^^^^F"^^^"'^^"'      ing  dotted  lines. 

Fig.  79.  ^ 

Such    lines    are 
necessary  in  all  kinds  of  working  drawings.  The 
more     important 
ones  should  be  first 
drawn  with  pencil. 
These    methods 
of  lining  should  be 
practiced  until  the 
student  can   make 
them     clear      and 
clean  without  much 
effort.     The    illus- 
tration   shown    at  ^'s:-  80. 
Fig.   81    exhibits   a   method   of    cross   lines,   in 


ARCHITECTURAL   DRAWING   SELF   TAUGHT 


89 


making  of  which  the  student  must  be  careful 
and  see  that  one  set  of  lines  are  perfectly  dry 
before  being  crossed  by  the  others.  It  is  well 
to  try  the  pen  upon  a  separate  piece  of  paper 
before  applying  it  to  the  drawing. 

Where  the 
drawings  are 
complex  or  very 
particular,  they 
should  always 
be  made  first  in 
pencil  and  inked 
in  afterwards; 
then,  if  any  cor- 
rections are  nec- 
essary, they  may 
be  made  before 
the  inking  is  done,  and  the  superficial  lines 
can  be  taken  out  by  erasing  them.  To  erase 
strong  pencil  marks  requires  hard  rubbings 
which  destroys  the  surface  of  the  paper.  Be 
careful  in  making  pencil  lines  and  do  not  get  in 
more  than  are  wanted,  as  confusion  in  inking  is 
sure  to  follow  if  too  many  lines  are  in  evidence. 

The  penciling  being  done,  the  drawing  may  be 
inked  in,  but  before  starting  the  following 
instructions  must  be  considered.     The  drawing 


Fig.  3i. 


50 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


pen  Is  filled  by  dropping  the  ink  between  the 
nibs  while  held  in  a  nearly  vertical  position,  as 
before  stated.  The  pen  can  be  used  with  a 
straight  edge  ruler;  the  taper  to  the  point  is 
sufficient  to  throw  it  far  enough  away  from  the 
edge  to  prevent  blotting  if  care  is  taken.  The 
breadth  of  the  line  is  regulated  by  adjusting  the 
screw.     If  the  pen  is  not  in  use,  even  for  a  short 

time,  be  sure  to 
take  out  the  ink 
with  a  blotter  and 
dry  the  pen  thor- 
oughly. The  nibs 
should  be  kept  per- 
fectly bright  and 
clean.  The  liquid 
India  ink  which 
comes  in  bottles  is 
nowgenerallyused. 
This  much  being  thoroughly  understood,  I  will 
now  try  and  give  a  few  hints  as  to  the  proper 
method  of  using  the  drawing  pen.  Fig.  82  shaws 
the  method  of  holding  the  pen.  The  pen  is  held 
between  the  thumb  and  two  forefingers,  and 
carried  along  the  ruler  from  left  to  right,  with 
the  flat  blades  always  parallel  to  the  direction 
of  the  line;    otherwise  the   pen  will   either   be 


Fig.  82. 


ARCHITECTUR4L   DRAWING   SELF  TAUGHT  91 

running  on  the  edge  of  the  blade  only,  or  in  such 
a  position  that  the  ink  cannot  flow  freely  from 
its  points.  The  result  in  either  case  would  be  a 
broken  or  ragged  line,  a  condition  to  be  avoided, 
or  a  bad  drawing  will  result. 

In  marking  off  dimensions  on  a  drawing,  a 
system  of  rough  lines  is  generally  adopted  which 
is  illustrated  at  Fig.  St,,  when  a  dimension  is 
shown  guiding  the  sight    from   arrow-point    ta 


< 


Fig.  83. 

arrow-point.  These  lines  should  consist  of 
strokes  not  more  than  one-sixteenth  of  an  inch 
long  and  should  have  not  less  than  a  quarter  of 
an  inch  space  between  them.  It  will  be  worth 
while  to  measure  these  distances  for  a  few 
times  at  first  when  drawing  them  so  as  to  get 
into  the  practice  of  getting  them  about  right, 
though  in  a  very  short  time  the  draftsman  will 
be  able  to  strike  the  distances  near  enough  with- 
out measuring.  When  making  finished  draw- 
ings in  practice,  it  is  found  best,  when  inking  in, 
to  use  straight  blue  or  red  ink  lines  terminating 
at  the  ends  by  black  arrow-heads. 

When  it  is  desired  to  show  the  interior  con- 


92  ARCHITECTURAL    DRAWING   SELF  TAUGHT 

struction  of  any  object,  an  imaginary  cut  is  made 
through  it,  and  the  representation  of  the  cut 
surface  is  called  a  section.  The  direction  of  the 
cut  is  marked  upon  the  original  drawing  by  a 

1 B 

Fig.  84. 

line  of  section,  formed  of  strokes  and  dots  placed 
alternately,  with  a  letter  at  each  end,  as  A  B 
upon  Fig.  84.  This  line  is  usually  in  red  ink, 
but  as  all  the  work  in  the  present  lessons  is 
black  and  white,  this  dotted  section  line  may  be 
made  the  same  as  the  other  lines. 

The  mode  of  marking  off  distances  between 
two   points   is   shown    at    Fig.    85,    where    the 

...    6'.  AVz    .... 

Fig.  85. 

arrow-heads  mark  the  limitation;  that  is,  the 
distance  between  the  lines  which  are, touched  by 
the  points  of  the  arrows,  is  6  feet  four  and  a 
half  inches.  This  is  marked  off  regardless  of 
scale,  and  the  method  will  be  found  useful  when 
roughing  out  a  house  plan,  elevation,  or  other 
similar  work,  as  the  dimensions  of  rooms,  sizes 


ARCHITECTURAL   DRAWING   SELF   TAUGHT 


95 


of  windows  and  doors,  heights  of  ceilings,  and 
all  other  dimensions  can  be  given  without  draw- 
ing to  scale.  I  will  have  more  to  say  of  this 
later  on. 


THE    LEAD    PENCIL 


So  far  I  have  said  but  little  regarding  the  lead 
pencil,  which  is  a  very  important  factor  in  the 


Fig.  86.  Fig.  87. 

draftsman's  hands.  As  before  stated,  all  draw- 
ings of  any  importance  should  first  be  made  in 
pencil;  and  a  hard  pencil  should  be  used  for  the 
purpose;  in  fact,  there  should  be  two  pencils, 
one  of  which  should  be  pointed  similar  to  those 
shown  at  Fig.  86,  and  the  other  should  be 
sharpened  with  a  chisel-point  similar  to  those 
shown  at  Fig.  ^j.  These  two  illustrations,  Figs. 
86  and  ^j,  show  two  methods  of  sharpening, 
either  of  which  will  answer  the  purpose  quite 
well. 


94  ARCHITECTURAL    DRAWING   SELF  TAUGHT 

The  pencil  should  be  used  solely  at  first  for 
practicing,  and  the  most  expensive  drawing 
pencils  are  often  the  most  economical  to  use  in 
drawing.  There  are  many  well-known  makes 
that  may  be  depended  upon  to  work  smoothly 
and  evenly  without  grittiness  or  inequality  of 
texture.  The  number  of  H's  marked  upon  the 
pencil  indicates  its  relative  hardness.  For 
general  use  those  marked  H  or  HH  will  be 
suitable,  while  for  particularly  fine  work 
HHHHHH  may  be  necessary.  For  roughly 
sketching  details  on  a  large  scale,  a  very  soft 
lead,  such  as  BBB,  will  be  found  pleasantest  to 
work  with.  Pencils  of  unvarnished  cedar  are  to 
be  preferred,  and  those  of  a  hexagonal  section 
do  not  roll  off  the  sloping  surface  of  the  draw- 
ing-board or  desk. 

Almost  the  first  lesson  for  a  draftsman  is  how 
to  properly  sharpen  a  pencil,  which  is  not  easy 
for  the  beginner  to  accomplish  satisfactorily.  A 
pencil  point  should  be  well  sharpened  so  that 
when  the  pencil  is  passing  along  the  edge  of  the 
square  it  should  be  close  against  it;  and  in 
ordinary  drawing  or  tracing,  a  clear  view  should 
be  obtained  completely  around  it  on  the  paper. 

A  round  point  wears  away  very  rapidly,  and 
will  hardly  make  even  one  fine  line,  whereas  if 


ARCHITECTURAL    DRAWING   SELF   TAUGHT  91 

che  edge  be  kept  the  full  thickness  of  the  lead 
in  the  direction  of  the  line  the  pencil  will  last 
very  much  longer  and  produce  better  work;  the 
flat  faces  of  the  lead  point  may  be  slightly 
rounded. 

If  properly  sharpened,  one  operation  of  the 
knife  on  the  wood  will  be  sufficient  to  allow  of 
several  re-sharpenings  of  the  lead,  whilst  a 
badly-sharpened  point  requires  further  hacking 


Fig.  88.  Fig.  89. 

of  the  wood  every  time  the  lead  is  slightly  worn. 
Fig.  88  shows  the  T-square  and  pencil  with 
the  two  hands  in  position  for  drawing  an 
ordinary  horizontal  line.  The  pencil  should  be 
upright  when  looking  in  the  lengthways  direction 
of  the  line,  and  sloping  about  five  degrees  from 
the  upright  in  the  direction  in  which  it  is  being 
arawn,  as  would  be  seen  at  right  angles  to  the 
line,  and  in  Fig.  89  the  method  of  holding  the 
pencil  for  freehand  or  tracing  work  is  showii. 
This  is  on   a  larg-er  scale  in  order  to  show  the 


96  ARCHITECTURAL   DRAWING   SELF  TAUGHT 


PLATE  6. 

This  plate  shows  the  draftsman  how  to  prepare 
detail?  so  that  they  may  be  followed  by  the  actual 
M^orkman.  This  shows  some  details  of  the 
porch,  giving  the  construction  of  cornice  and 
other  work. 

This  is  shown  here  to  a  scale  of  one  quarter 
of  an  inch  to  the  foot.  It  represents,  of  course, 
a  portion  of  the  cottage. 


INSERT  FOLDOUT  HERE 


ARCHITECTURAL   DRAWING   SELF  TAUGHT  97 

manner  of  holding  the  pencil  for  this  kind  of 
work. 

After  this  from  each  edge  of  the  paper  mark 
off  %  in.  and  draw  a  border  line  all  round,  with 
plain  square  corners.  The  three  fingers  at  the 
back  of  the  stock  of  the  T-square  keep  it  close 
to  the  edge  of  the  board,  which  is  not  easy  to  do 
at  first  starting,  but  with  a  little  patience  and 
perseverance  every  border  line  can  be  drawn 
with  equal  facility.  It  is  important  to  note  that 
all  pencil  lines  upon  a  drawing  should  be  thin; 

Fig.  90.  Fig.  91. 

if  made  thick  they  cannot  be  inked  over  so 
neatly,  and  the  paper  will  have  a  greasy  feel  to 
the  pen.  The  india  rubber  should  be  used  very 
sparingly  and  if  possible  only  after  a  drawing  is 
completely  inked  in. 

A  pencil  line  drawn  in  error  should  have  a 
wavy  mark  across  it,  as  in  Fig.  90,  and  one 
drawn  full,  but  intended  to  be  inked  in  dotted, 
should  be  marked  as  in. Fig.  qi;  this  is  instead 
of  rubbing  them  out  at  the  time.  Another 
fundamental  principle  is  always  to  draw  a  line 
far  enough  at  the  first  attempt,  but  not  to  draw 
it  beyond  the  distance  it  is  known  to  be  wanted. 


98  ARCHITECTURAL   DRAWING   SELF  TAUGHT 

An  unnecessary  line  takes  time  to  draw,  wastes 
the  pencil  point,  and  takes  time  to  rub  out;  all 
matters  of  moment  when  excellence  is  in  view. 
Of  course,  all  corrections  must  be  made  whilst 
the  drawing  is  in  pencil,  for  a  drawing,  while  in 
ink,  cannot  be  corrected,  without  great  injury 
being  done  to  it,  as  erasions  of  ink  spoil  the 
surface  of  the  paper  and  disfigure  the  whole 
work. 


Fig.  92. 

When  a  drawing  is  completed,  the  pencil  lines 
may  be  erased  by  using  a  proper  rubber  similar 
to  that  shown  at  Fig.  92,  which  can  be  pur- 
chased for  a  few  cents.  Some  of  these  erasers 
are  made  so  that  one  end  of  them  is  specially 
devised  for  rubbing  out  pencil  lines  while  the 
other  end  is  intended  for  erasing  ink  lines. 
Never  use  the  ink  end  when  it  can  possibly  be 
avoided,  as  it  will  destroy  the  fine  surface  of  the 
paper  and  disfigure  the  drawing. 

When  it  can  be  afforded,  it  is  best  to  buy  a 
case  of  assorted  pencils.  They  will  come 
cheaper  this  way,  and  a  case  will  last  for  years 


ARCHITECTURAL   DRAWING   SELF  TAUGHT  99 

and  the  draftsman  will  always  have  at  hand 
pencils  to  suit  all  sorts  of  work.  Faber's  pencils 
were  considered  the  best  for  many  years,  but 
they  are  rapidly  being  driven  out  of  the  market 
by  pencils  of  American  manufacture.  Dixon's 
pencils  are  excellent  and  may  be  relied  upon  to 
give  good  results,  but,  in  my  own  practice  I 
make  use  of  "Eagle  Pencils"  and  find  in  them 
the  best  of  satisfaction.  This,  however,  is  per- 
haps after  all  merely  a  matter  of  taste,  a  pref- 
erence for  a  name  or  firm. 

Pencils — like  all  other  drawing  appliances — 
should  be  kept  in  a  case  and  should  always  be 
in  order  for  work,  so  that  in  a  hurried  job,  there 
will  be  no  need  to  hunt  all  over  for  a  pencil,  or 
a  knife  to  sharpen  it.  These  few  hints  regarding 
pencils  will,  I  hope,  prove  useful  to  the  young 
draftsman. 

PRELIMINARY    ROUGH    SKETCHES 

Often  workmen  are  called  upon  to  make  a 
rough  sketch  of  a  piece  of  work  before  making 
a  drawing  of  it  in  order  to  get  a  fair  under- 
standing with  the  employer.  A  rough  sketch 
taken  off-hand  with  dimensions  put  on  in  figures 
will  often  give  to  the  person  ordering  the  work 
a   clear   idea   of    what    he     intends     and    thus 


100  ARCHITECTURAL    DRAWING   SELF  TAUGHT 


i         .1 


-|>A/ 


V? 


n 


^ 1      -2.L0 ^ 


VJ       wi. 


/^   lA"     — I 


vW 


-~.Vii  ^'  ^^^^-^f  fcr-^p^ 


^- 


;Z.O'  ^ 


^r 


I   ^ 


Fig.  93- 


ARCHITECTURAL    DRAWING    SELF    TAUGHT  101 

prevent  disputes,  annoyances  and  misunder- 
standings. 

Rough  sketches  may  be  made  of  any  size  and 
without  reference  to  scale  or  regard  to  exactness, 
providing  always,  the  dimensions  are  given.  In 
order  to  illustrate  this  I  show  a  rough  sketch  of 
a  house  plan  at  Fig.  93.  We  suppose,  for 
instance,  a  man  wants  a  small  house;  in  the 
house  he  desires  a  parlor  18x20  feet,  a  dining 
room  18x20  feet  and  a  kitchen  18x22  feet,  and  a 
side  hall  with  stairwaj'',  6'6",  length  of  the  house, 
with  all  the  necessarj'^  windows,  bays,  and  doors, 
also  chimneys  and  fire-places.  The  whole  may 
be  drawn,  without  scale,  as  shown  in  the  pur- 
posely rough  illustration.  This  at  once  gives  a 
correct  idea  of  the  plan  of  the  house  and  the 
general  lay  out.  After  satisfying  all  the  con- 
ditions required  in  the  plan,  a  rough  sketch  of 
the  elevation,  showing  height  of  ceilings,  pitch 
of  roof,  windows  and  other  necessaries;  ma}^  be 
reduced  to  scale  and  drawn  on  paper  in  regular 
order.  Another  rough  sketch  is  shown  at  Fig. 
94.  on  a  much  smaller  basis.  I  do  not  advise 
making  these  sketches  too  small,  particularly'  if 
they  are  intended  to  submit  to  a  prospective 
owner,  as  then  they  are  apt  to  be  misleading. 

Any  one  acquainted  with  building  matters  or 


102 


ARCHITECTURAL   DRAWING   SELF   TAUGHT 


the  reading  of  plans,  will  have  no  difficulty 
whatever  in  thoroughly  understanding  these 
rough  sketches,  or  in  making  a  scale  drawing 
from  them,  if  they  have  the  least  knowledge  of 
drawing.  The  windows  and 
J{^_J^c^^'&ss.  s=i  doors  are  shown  so  far  as  posi- 
tion   is    concerned,     and     are 


Pas 


I 
I 


marked  respectively,  W  and 
D.  Where  the  dimensions  of 
these  are  decided  upon,  these 
^^  dimensions  may  be  marked  on 
the  plan,  and  a  rough  sketch 
of  the  elevation  given;  if  for 
a  door,  make  it  as  shown  in  95, 
showing  number  of  panels, 
and  in  such  style  as  intended. 
If  the  door  is  elaborate,  then, 
of  course  greater  pains  will 
have  to  be  taken,  and  this  can 
best  be  done  by  making  it  a 
scale  drawing.  If  the  design 
wanted  is  for  a  window,  then 
a  rough  sketch  may  be  made  similar  to  the 
one  shown  at  Fig.  96,  which  is  a  simple  6  light 
window.  A  more  elaborate  sash  is  shown  at  97, 
which  may  be  roughed  out  to  the  style  shown, 
or  to  any  other  style  desireti. 


Fig.  94. 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


103 


These  five  rough  examples  are  quite  sufficient 
to  convey  to  the  student  an  idea  of  how  he  can 
lay  out  a  rough  sketch  from  which  he  may 
construct  an  exact  scale  drawing.  In  the  plans 
shown,  I  have  not  given  thickness  of  walls;  this 


l^wjir/iMmnnrffF. 


/hit 


7 

i 
I 


I 


i^^ig.  95- 


Fig.  96. 


the  draftsman  can  arrange  when   he  plots  out 
his  plan. 

I  now  present  a  few  examples  which  show  the 
method  of  marking  off  measurements  and  show- 
ing the  thickness  of  walls,  dimensions  of  windows, 
etc.  The  illustration  shown  at  Fig.  98  is  sup- 
posed to  be  the  front  of  a  building  having  a  front 
entrance  and  windows,  and  an  "over-all"  meas- 


104 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


urement  of  3q'6".     This  shows  i8'o"  for  the  pro- 
jection, and  2i'6"  for  the  reserved  part. 

These  measurements  should  be  again  sub- 
divided, showing  the  lengths  of  brickwork, 
widths  of  openings,  etc.;  and  the   line  of  meas- 

urements  inside    gives   the 

thickness  of  the  walls,  di- 
mensions of  rooms,  etc.  The 
distance  that  the  part  pro- 
jects should  also  be  noted 
as  shown  by  30".  The  in- 
side measurements  and  the 
smaller  dimensions  should 
exactly  agree  with  the  "over- 
all" measurement  given. 

In    drawing    pencil    lines 
they    should    always     be 
J      /  I     drawn  longer  than  the  ac- 

^  X.  Dl  tual  length  of  the  lines  to 
be  inked  in,  so  that  the 
exact  point  of  intersection 
with  other  lines  can  be  better 
seen.  When  the  drawing  has  been  inked  in,  these 
extra  lengths,  of  course,  have  to  be  cleaned  oft 
with  India  rubber,  as  well  as  a  great  many  other 
pencil  lines  which  are  necessary  in  the  process 
of  making  the  drawing,  but  which  form  no  part 


Fig.  97. 


ARCHITECTURAL    DRAWING   SELF   TAUGHT  105 

of  the  finished  drawing.  These  "construction 
lines,"  as  they  are  called,  should  be  drawn  as 
lightly  as  possible,  so  as  to  be  easily  removed 
without  greatly  damaging  the  surface  of  the 
paper.  When  drawing  circles  or  arcs  of  circles 
with  the  compasses,  a  little  pencil  mark  should 
be  made  round  the  center  point,  so  that  it  can 
be  found  without  any  trouble  when  it  is  desired 
to  ink  in  the  drawing.     It  is  useless  to  draw  in 


Fig.  98. 

pencil  every  one  of  a  long  series  of  circles  or 
arcs  which  are  alike;  it  will  be  more  expeditious 
to  mark  the  centers  only  after  drawing  one  or 
two,  for  in  the  inking-in  of  the  work  when  the 
compasses  are  once  set  to  the  correct  radius,  the 
centers  will  be  all  that  is  required  to  draw  them 
in  full. 

Every  working  drawing  when  it  leaves  the 
draftsman  should  be  carefully  and  completely 
figured  as  shown  in  Fig.  q8.  A  little  time  spent 
in  figuring  builders'  drawings,  so  that  the  sizes 


106  ARCHITECTURAL   DRAWING   SELF  TAUGHT 

of  window  and  door  openings,  thickness  of  walls, 
etc.,  are  clearly  stated,  will  save  time,  worry 
and  inconvenience.  A  measurement  of  feet 
only  should  always  have  a  cipher  in  the  place  of 
the  inches  as  280",  and  arrow-heads,  as  before 
described,  should  show  the  extreme  limits  of  the 
intended  dimensions.  Perhaps  it  may  not  be 
necessary  to  explain  to  the  student  the  use  of 
the  foot  and  inch  marks,  '  and  "  which  should 
always  be  placed  over  dimensions  figures  The 
single  mark  denoting  feet,  and  the  double  mark 
representing  inches,  when  employed  they  greatly 
assist  in  reading  of  plans. 

Vertical  measurements  showing  the  height  of 
rooms  or  stories  are  best  figured  from  floor  to 
floor — rarely  from  floor  to  ceiling — but  allowance 
must  be  made  for  the  depth  of  joists  and  thick- 
ness of  floor  and  ceiling.  The  height  of  windows 
should  be  always  figured  from  the  top  of  the  sill 
to  the  underside  of  the  head,  and  their  position 
from  the  level  of  the  floor  to  the  top  of  the  sill, 
this  giving  exactly  the  opening  in  the  frame  or 
brickwork.  When  a  drawing  is  carefully  figured 
it  is  much  easier  for  the  workman  to  understand, 
and  mistakes  and  misunderstandings  are  less 
liable  to  occur. 

We   have   now   reached    a   point   where    the 


ARCHITECTURAL    DRAWING   SELF  TAUGHT  107 

Student  may  venture  to  attempt  a  rough  draw- 
ing for  a  small  cottage,  and  to  this  end  the 
following  illustrations  are  submitted. 

We  will  suppose  that  a  brick  cottage  31  feet 
long  and  i9'6"  wide  is  to  be  built,  having  three 
rooms  and  a  hall  on  main  floor,  a  cellar,  and 
attic  containing  three  bedrooms,  and  attic.  The 
foundation  is  to  be  of  stone,  the  superstructure 
of  bricks,  and  the  roof  of  wood,  shingled. 
Having  the  paper  properly  tacked  on  the  draw- 


Fig.  99. 

ing  board,  ready  for  work,  we  next  decide  upon 
a  scale.  I  would  suggest  a  scale  of  four  feet  to 
the  inch;  that  is,  each  quarter  of  an  inch  should 
represent  one  foot  of  the  building;  and  as  this  is 
an  easy  scale,  and  one  that  can  be  readily  under- 
stood by  the  student,  he  will  have  no  trouble  in 
dealing  with  it.  A  scale  is  shown  at  Fig.  99. 
Of  course,  the  quarter  inch  must  be  divided  into 
twelve  parts — which  will  be  found  on  any  good 
rubber  or  ivory  scale — then  square  off  a  fine 
pencil  line  from  your  left  hand  across  the  paper 
near  the  lower  edge  of  the  board.  From  this 
line,  draw  another  at  a  convenient  point  at  right 
angles  to  the  first  line.     Make  these  lines  with  a 


108 


ARCHITECTURAL   DRAWING   SELF   TAUGHT 


fine  pointed  HB  pencil,  and  so  light  that  they 
may  be  easily  erased.  From  the  junction  of  the 
two  lines,  F,  Fig.  lOO,  measure  off  j%  inches, 
which  will  equal  31  quarter  inches,  which  again 
represent  31  feet  by  scale.  From  this  point,  B, 
square  up   another  line.      From   E    to    F,   is   a 


Fig.  100.     Cellar  Plan. 

distance  of  4^  inches,  which  contains  19  quarter 
inches  and  one  }i  of  an  inch.  The  19  quarter 
inches  represent  iq  feet  on  scale,  and  the  %  of 
an  inch  represents  6  inches,  thus,  making  the 
total  distance  between  E  and  F,  19  feet  and  6 
inches.  Square  over  from  E  to  A,  and  the  lines 
A  B,  E  F,  form  the  boundary  of  the  cellar  plan. 


ARCHITECTURAL    DRAWING    SELF   TAUGHT  109 

The  cellar  walls  are  supposed  to  be  of  stone,  and 
are  therefore  i8  inches  thick,  so  we  measure  off, 
working  to  the  inside  always,  3^  of  an  inch, 
which  according  to  our  scale,  represents  i  ft.  6 
in.,  the  proper  thickness  of  the  wall. 

It  will  be  noticed  that  at  R  we  have  projected 
the  wall  inside  the  cellar;  this  projection  is 
intended  to  carry  the  chimney  and  fireplace. 
Here  we  show  two  projections,  but  in  practice 
the  projection  is  made  in  one  as  shown  by  the 
dotted  lines.  The  same  is  also  done  with  the 
chimney  foundation  shown  at  S.  While  the 
shaded  parts  shown  would  be  ample  to  carry  the 
chimney  and  fireplace  above,  it  is  generally 
more  economical  to  make  a  solid  block  of  stone- 
work, as  shown  b}^  the  dotted  lines.  In  actual 
practice,  the  first  stones  laid  should  project 
beyond  the  faces  of  the  wall  six  or  more  inches 
on  each  side  in  order  to  give  the  foundation  a 
wider  base.  These  bottom  stones  are  called 
"footings."  They  should  never  be  less  than  6 
inches  thick. 

The  partition  V  is  built  of  bricks  laid  on  stone 
footings.  This  wall  is  nine  inches  thick — the 
length  of  a  brick — and  runs  up  to  the  floor  joists. 
The  partition  on  the  opposite  side  of  the  stair- 
way is  a  studded,  lathed  and  plastered  one.     The 


110 


ARCHITECTURAL   DRAWING    SELF   TAUGHT 


openings,  O,  O,  are  for  the  cellar  Avindows  and 
are  three  feet  (^  inch)  wide.  The  framework 
outside  the  windows  are  curbs,  built  around  the 
windows  to  prevent  the  earth  from  filling  in 
against  the  glass.  The  student  need  not  mind 
the  shading  unless  he  desires  to  fill  in  the  walls. 


Fig.  loi.     First  Floor  Plan. 

This  sketch  is  now  a  complete  plan  of  the  cellar, 
and  one  that  can  be  worked  to. 

It  will  now  be  in  order  to  draw  the  first  floor 
plan,  as  shown  in  Fig.  loi.  Proceed  the  same 
as  before,  only  in  this  case  the  outer  walls  are 
made  \i  inch  thick,  which  represents  one  foot, 
making  the  wall  one  and  one-half  bricks  thick. 
Measure  off  the  openings  as  shown,  making  the 


ARCHITECTURAL    DRAWING   SELF  TAUGHT 


111 


Fig.  102.     Attic  Plan. 

window  openings  which  are  represented  by  three 

lines   running   through    the    openings    (j4    i^^ch 
wide^,  which  is  three  feet.     The  two  door  open- 


^ 1 


^ 


a 


1 
=31 

L 


J      C 


m 


3       [ 


Fig.  103.     Front  Elevation. 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


PLATE   7. 

Plate  7  exhibits  a  portion  of  cornice  and  roof 
of  main  building.  This  shows  the  construction, 
with  roof  boards  and  shingles,  also  the  finished 
portion  of  roof  and  cornice. 


INSERT  FOLDOUT  HERE 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


113 


ings  are  13-16  inch,  or  3  feet  3  in.  ]\Ieasiire  oft 
the  partitions  and  lay  off  to  sizes  as  figured.  Be 
careful  to  have  the  chimneys  and  fireplaces,  R. 


Fig.  104.     End  Elevation  and  Section. 

R.  S.,  directly  over  those  in  the  cellar.'  The 
stairs  in  cellar  are  directl}'  under  the  stairs  as 
shown  in  this  plan.  The  projections  shown  at 
the  doors  are  steps. 


114 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


The  plan  shown  at  Fig.  102  is  for  the  attic 
story.  A  part  of  the  height  of  this  will  run  up 
into  the  roof  as  will  be  shown  in  section  Fig.  104. 
Here  the  chimneys  take  another  shape  and  are 
"drawn  in"  to  suit  the  flues.  The  partitions  are 
varied  and  the  stairs  land  in  the  hall  by  three 


Fig.  106. 


winders.  The  windows  are  not  so  wide  as  those 
in  the  stories  below,  only  being  2  ft.  3  in.  in  the 
openings.  Measure  off  the  rooms  as  they  are 
figured,  making  the  partitions  of  2x4  in.  studs, 
and  marking  off  the  newel  and  rail  for  stairs  as 
shown. 

The. elevation  shown  at  Fig.  103  requires  but 
little  explanation,  as  it  is  simple  b.nd  easily 
understood.  The  windows  are  3  feet  wide  in  the 
opening  and   5   ft.  3  in.  from   lintel  to  sill;  so, 


ARCHITECTURAL    DRAWING   SELF   TAUGHT 


115 


keeping  these  figures  in  mind,  the  window  and 
sashes  ma}'  be  laid  out  readily.  The  door,  Trom 
floor  to  lintel,  including  fanlight,  is  8  feet  high, 
by  3  ft.  3  in.  in  width.     The  rest  is  easy. 

A  part  of  the  end  elevation  and  a  sectional 
view  are  shown  at  Fig.  104.     In  the  section  the 


Fig.  107. 

foundation  footing  is  shown  at  O;  the  projection 
of  door-steps  is  also  shown  on  the  ground  line. 

All  these  examples  should  first  be  made  in 
pencil,  after  which,  when  corrected,  they  may  be 
"filled  in"  with  ink. 

I  have  mentioned  something  regarding  "foot- 
ings" for  foundations  and  it  may  not  be  out  of 
place  at  this    point  to  say  something  more  of 


116 


ARCHITECTURAL    DRAWING   SELF  TAUGHT 


them.     The  illustration  shown  at  Fig.  105  shows 
the  footing  and  a  portion  of  section  of  wall   that 

would  be  suitable  for 
the  brick  partition 
running  through  the 
cellar  of  the  cottage 
we  have  just  dis- 
cussed. Here  is  a 
flat  stone  footing 
with  three  courses  of 
bricks  on  top  before 


Fig.  108. 


mences.  The  dotted 
lines  show  the  top  of 
cellar  floor  whether  it  be  plank  or  cement.  When 
the  whole  foundation  and  wall  are  to  be  of  stone, 
the  student  may  lay  it  off   in  accordance  with 

the  class  of  ma-  

soury  employed.  "  <     ■  ^  -- 

One  method  of 
showing  square 
rubble  work  in 
a  wall,  is  exhib- 

1  T-'  ^  Fig-  I09- 

ited  at  Fig.  106. 

This  shows  a  section  of  the  wall,  through  B,  at  Fig. 
107.  Coursed  rubble  work  is  shown  at  Fig.  108, 
while  random  rubble  work  is  shown  at  Fig.  109. 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


IIT 


In  this  style  of  masonry,  the  wall  is  brought  to  a 
level  throughout  its  length  at  about  every  12  or 
14  inches,  in  height,  so  as  to  form  courses  of 
that  depth.  This  wall  is  built  of  stones  rough 
from  the  quarry,  regardless  of  size  or  shape. 

Another  st^^le  of  masonry  built  up  of  irregular 
stones  that  have  been  broken  up  from  large 
field  stones  is 
shown  at  Fig.  1 10. 
The  foundation 
and  corners  are 
built  up  of  squared 
stones.  This  kind 
of  work  is  some- 
times called  irreg- 
ular rubble,  rustic 
work,  or  field  stone 
masonr}'.  It  does 
very  well  for  garden  walls,  retaining  walls,  cel- 
lar walls  for  small  buildings,  but  should  not  be 
used  where  great  strength  is  required. 

Block  course  masonry  is  where  the  courses  of 
stone  run  in  straight  horizontal  lines  as  shown, 
at  Fig.  III.  Ashler  masonry  is  built  up  in 
courses  of  more  or  less  uniform  depth,  generally 
from  10  to  14  inches  deep,  ranging  with  the 
quoins  or  corners,  and  other  dressings;  it  goes. 


Fig.  no. 


118 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


by  different  names,  according  to  the  face  put 
upon  the  stone — from  quarry-pitched,  or  rock 
ashler,  to  wrought  ashler.  A  sample  of  the  work 
is  shown  in  Fig.  112. 

There  are  many  other  forms  of  stonework, 
but  the  examples  given  are  quite  sufficient  for 
the  purposes  of  this  work,  and  other  forms  may 
Tvell  be  left  to  the  trained  architect.     Perhaps  a 


MI|l|IIIllllil-    - 
|,,.."Mi.iili|ti;|i"^- 


II,.  "'"'.:, 


|l.ll,|||'|l"'^'m.lfl||;. 

Ill'-:'  l  •  "  ■'  ■•  '' 


..  I:!!'.:,„ii!ii'": 


lil.^^:' "■ 


i'TTJ 


iillli' 


|!ill!i'''^-  ^^ 


ir  —""::';>•■•■  'I'li 


,  ..■■•■iiii:i! 


'liiiiiill 


l!:.iiiiiilii|i:i 


III '"•'■"" 

l|i|";ii-" 


ill"  :i;;;i" 


ll'i'i'     . 


^■:,illllll'::..i:iii:'h 


Fig.   III. 

few  examples  of  brickwork  will  not  be  out  of 
place  at  this  point,  as  they  will  give  to  the 
student  a  slight  insight  into  the  manner  of 
"bonding,"  which  is  quite  an  important  matter  in 
brickbuilding. 

At  Fig.  113,  the  end  section  of  a  single  brick, 
or  9  inch  wall,  is  shown,  having  a  two  brick  or 
18  inch  footing.  This  will  be  easily  understood 
as  will  also  the  section  shown  at  Fig.  114.     The 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


119 


latter  shows  the  section  of  a  brick  and  a  half 
wail,  known  generally  as  a  14  inch  wall.  The 
tooting     for     this    is    formed    of    three   bricks» 


^h. 

Af  /(-i 

I'V'i'f 

iJ  1 1 

m yj 

i-iiii^ 

iir^  III 

"fl 

m 

I'l 

111    ,1 

if!lll,ii,.'lll 

;iii,jr''|ij 

Fig.  iiz. 

making  it  28  inches  wide.  The  footing  is 
diminished  until  it  is  only  two  bricks  wide  on 
which  the  actual  wall  commences.     Other  thick- 


Fig.  113-  Fig.  114. 

nesses  of  walls  are  formed  on  the  same  principle 

so  other  examples  of  this  kind  are  unnecessary. 

At  Fig.    115  I   show  two  plans  of  an   18  inch. 


WJO 


ARCHITECTURAL    DRAWING   SELF   TAUGHT 


wall  which  illustrates  the  method  of  "bondingr" 
or  breaking  joints.  I  also  show  a  section  of  the 
wall  shaded. 

Before  proceeding  further,  it  may  be  well  to 

explain  the   meaning  of    the   term    "bond,"    or 

I  "bonding."     "Bond"  is  an  arrangement  of  bricks 


2-Brick  Wall. 


FUut^Cntrus 

f.S.5 

1 

Stetten 


6 

5 
4 

S 
2 
1 


V 

1 

L_ 

Fig.  115. 

or  stones  placed  in  juxtaposition  so  as  to 
prevent  the  vertical  or  plumb  joint  between  any 
two  bricks  or  stones  falling  into  a  continuous 
straight  line  with  that  between  any  other  two. 
This  is  called  "breaking  joint,"  and  when  it  i« 
not  properly  carried  out,  that  is,  when  two  or 
more  joints  do  fall  into  the  same  line,  as  at  x  y 


ARCHITECTURAL   DRAWING   SELF   TAUGHT 


121 


Fig  1 16,  they  form  what  is  called  a  straight 
joint.  Straight  joints  split  up  and  weaken  the 
part  of  the  wall  in  which  they  occur,  and  should 
therefore  be  avoided.  A  good  bond  breaks  the 
vertical  joints,  both  in  the  length  and  thickness 
of  the  wall,  giving  the  bricks  or  stones  a  good 
lap  over  one  another  in  both  directions,  so  as  to 
afford  as  much  hold  as  possible  between  the 
different  parts  of  the  wall. 


T^^ 


I 


^^ 


iz~r 


Fig.  1 1 6. 

A  further  effect  of  bond  is  to  distribute  the 
pressure  which  comes  upon  each  brick  over  a 
large  number  of  bricks  below  it.  Thus,  in  Fig. 
ii6,  there  is  a  proper  bond  among  the  bricks 
forming  the  face  of  the  wall,  and  the  pressure 
upon  the  brick  A  is  communicated  to  every  brick 
within  the  triangle  A,  B,  C. 

A  defective  bond,  either  in  brickwork  or 
masonry,  may  look  very  well  upon  the  face  of 
the  work,  as  in  Fig.  ii6,  where  the  bricks 
regularly  break    joint   vertically,   but   in    which 


122  ARCHITECTURAL   DRAWING   SELF  TAUGHT 

there  is  no  bond  whatever  across  the  thickness 
of  the  wall,  which,  it  will  be  seen,  is  really 
composed  of  two  distinct  slices  of  brickwork, 
•each  4%  inches  thick,  and  having  no  connction 
with  one  another,  except  that  afforded  by  the 
mortar.  To  avoid  this  defect,  the  bricks  or 
stones  forming  a  wall  are  not  all  laid  in  the 
same  direction  as  in  Fig.  ii6,  but  some  are  laid 
parallel  to  the  length  of  the  wall  and  others  at 
right  angles  to  them,  so  that  the  length  of  one 
of  the  latter  overlaps  the  width  of  the  two  below 
it,  as  shown  in  Fig.  115.  In  this  figure,  a  wall  is 
shown  in  section  at  the  top,  two  bricks  in 
thickness.  The  second  diagram  shows  a  plan  of 
the  courses,  2,  4,  6,  as  numbered  in  the  section, 
while  the  lower  diagram  shows  the  plan  of  the 
courses,  as  they  are  laid  in  the  wall,  of  the 
courses  numbered  i,  3,  5,  in  the  section. 

When  bricks  are  laid  lengthwise  in  the  wall, 
as  shown  in  Fig.  117,  they  are  called  "stretchers"; 
when  they  are  laid  across  the  wall,  as  in  Fig. 
118,  they  are  called  "headers."  "Stretchers" 
are  bricks  or  stones  which  lie  parallel  to  the 
length  of  the  wall,  those  in  the  exterior  of  the 
work  showing  one  side  in  the  face  of  the  wall. 

"Headers"  are  bricks  or  stones  whose  lengths 
lie  across  the  thickness  of  the  walls,  the  ends,  or 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


123 


"heads,"  of  those  thin  walls  like  the  diagram,  or 
in  the  outside  of  thick  walls,  being  visible  on  the 
face. 

If   the    student    copies    these    examples   and 
thinks  as  he  draws,  grasping  the  reasons  why 


Fig.  117. 


Fig.  118. 


the  bricks  are  laid  in  the  manner  shown,  he  will 
accomplish  two  purposes,  learning  to  draw  and 
acquiring  a  constructive  knowledge. 

There  are  a  variety  of  "bonds"  in  brickwork, 
all  of  which  it  will  be  necessary  for  the  archi- 
tectural student  to  be  familiar  with,  and  I  pro- 
pose to  offer  a  few  examples  for  practice  and  to- 
explain  them  at  the  same  time. 

The  bond  chiefly  used  in  this  country  for 
ordinary  work  is  called  running  "bond."  This 
consists  of  three,  four  or  five  running  courses  of 
stretchers,  and  then  a  course  of  headers,  as 
shown  in  Fig.  119,  where  there  are  three  courses 
of  stretchers  and  one  course  ot  headers.  The 
small  portions  of  bricks,  or  "bats,"  designated  by 


124 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


XXXX,  are  termed  closers,  and  are  required  to 
fill  out  the  courses. 

In  English  'bond"'  there  is  in  the  face  wall  a 
course  of  headers,  then  a  course  of  stretchers, 
and  so  on  all  the  way.  This  arrangement  is  for 
the  front  of  the  wall,  and  in  the  thick  walls  the 
bricks  are  made  to  join  in  to  the  best  advantage. 


H    1    1    1    1    1    1    i    1    \ 

1        1        1        1        1  \ 

1                '               \ 

1        1        1        1         1    ^ 

M    1    1    1    i    1    1    1    1     1 

1        1        1        1         1 

\ 

1                 1                 1       ) 

/ 

1        1        1        1         1 

i 

\ 

«     111-        .1 

Fig.  1 19. 

Thus,  an  English  bond  nine-inch  wall  will  have 
for  each  course  of  stretchers  two  rows  side  by 
side,  breaking  joint  horizontally.  The  joints  in 
the  inside  courses  should  be  one-half  the  width 
of  the  brick  from  the  vertical  joints  of  the 
stretchers  above  and  below.  A  fourteen  inch 
wall  in  English  bond  is  shown  at  Fig.  120,  which 
represents    four   courses    in  elevation,  and  the 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


i'-Zo 


second  course  and  the  top  course,  from  the  top, 
in  plan.  It  is  absolutely  necessary  in  this  wall 
to  have  a  row  of  headers  back  of  the  stretchers, 
as  if  they  were  all  stretchers  in  this  course,  there 
would  be  a  mortar  joint  all  the  way  up  through 


I    I    I    I    I    I    I    I 


f 


~-B 


1 

ILtVATION 

PLAN 

OF  COUKSE 

A 

PLAN  OF  COURSE  B 

Fig.  1 20. 

the  wall  along  the  line  A  B.  There  are  shown 
two  wa^^s  to  make  the  headers  in  any  course; 
break  joints  with  the  stretchers  in  the  same 
course.  In  the  plan  of  course  A  at  the  left- 
hand  end  there  will  be  seen  a  closer  X,  which  is 
half  of    a  brick    split    lengthwise.     This   piece, 


126 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


gx2}ix2%,  being  put  in  next  to  the  last  stretcher. 
In  the  plan  of  course  B  it  will  be  seen  that  the 
same  thing  is  done  by  using  three-quarter  bricks 
laid  flatwise. 

The  example  shown   at   121   exhibits  several 


II       11          1  <^7>^  1        1    1        1           1 

1        11       II  /-\  \  \// yv   (        II       II 

11         II      ^  \  \  W  /  /  K  1    1         1    I          1 

1        11; 

\        1    1             ( 

'11                ll/N 

/\\          III 

1   1   /\c 

y\   1    1        II 

1        1  i/^A 

c^\/\     1            1       1 

vV    ^\      1      1               ' 

1      i/\/y 

^\V  \^Ai       1    1 

1  1  /- 7/ 

xV \  1    t         1 

1            / — ^-.^  A/> 

\Nr\  J\       1    1 

1     1 /// 

X^xV"^     \i    1         1 

1          ^1  V/ 

\^C--T-|         II 

\     1          // 

\V        h    1         1 

1           I    1 

s 

1   1        it 

1          1    1 

w 

II        11 

II        1    1         1 

1           1    1 

1      1      F     1       1 

11            II               1 

1           1 

II             II 

II            11               1 

1           1    1 

11            II 

II            II              1. 

1          1     1 

II            1      ' 

II            1      ■               \ 

Fig    1 2  1. 

Styles  ot  laying  bricks;  C  shows  the  arch  A, 
herring  bone  filling  over  a  window,  S,  a  stone 
sill,  r^  the  general  brickwork  and  W  the  window 
opening.  This  is  a  good  example  to  draw, 
though  it  is  not  by  any  means  good  architecture. 
These  examples  are  sufficient  for  my  purpose, 


A&CHITECTURAL    DRAWING   SELF   TAUGHT  127 

and  should  the  student  desire  to  know  more 
about  the  bonding  of  brickwork,  he  may  procure 
a  copy  of  a  manual  on  brick  and  stone  work  I 
have  in  preparation,  and  which  will  be  published 
by  Drake  &  Co.  shortly. 

DRAWING    ARCHES 

It  is  absolutely  necessary  the  draftsman 
should  know  how  to  draw  the  forms  of  arches 
that  are  in  common  use,  and  in  order  to  instruct 


Fig.  123. 


him  on  this  point,  the  following  examples  are 
submitted  for  him  to  study  and  work  out.  The 
arch  shown  at  Fig.  122  is  simply  a  semicircular 
one,  and  the  simple  line  of  arch  is  drawn  from 
a  center  as  shown.  When  an  arch  of  this  form 
is  used  for  brick  or  stone  work  as  shown  at  Fig. 
123,  a  new  set  of  conditions  arise,  as  the  joints 
of  the  bricks  or  stone  must  be  shown  so  that  the 
right  bevels  or  angles  may  be  given  them. 
These  joints  all  radiate  to  the  center  of  the  arch 
as  shown.     It  may  not  be  out  of  place  at   this 


128  ARCHITECTURAL   DRAWING   SELF   TAUGHT 


PLATE   8. 

This  plate  shows  the  outside  of  a  plain  window 
frame,  a  door  frame,  corner  board,  and  a 
sectional  elevation  of  sash  and  frame.  This  is  a 
very  simple  plate,  and  the  young  draftsman  will 
find  no  difficulty  in  re-drawing  these  details 


INSERT  FOLDOUT  HERE 


ARCHITECTURAL    DRAWING    SELF   TAUGHT  129^ 

point  to  give  a  description  of  the  arch,  with  the 
terms  used  in  connection  therewith,  and,  I  may 
say,  the  definitions  given  apply  to  all  other 
arches  as  well  as  to  the  one  in  Fig.  123: 

(i)  The  SPAN  of  an  arch  is  the  distance 
between  the  points  of  support,  which  is  generally 
the  width  of  the  opening  to  be  covered,  as  A  B. 
These  points  are  called  the  springing  points; 
the  ma  5S  against  which  the  arch  rests  is  called 
the  ABUTMENT. 

(2)  The  RISE,  HEIGHT  OR  VERSED 
SINE  of  an  arch  is  the  distance  from  C  to  D. 

(3)  The  SPRINGING  LINE  of  an  arch  is  the 
line  A  B,  being  a  horizontal  line  drawn  across 
the  tops  of  the  support  .  where  the  arch 
commences. 

(4)  The  CROWN  of  an  arch  is  the  highest 
point,  as  D. 

(5)  VOUSSOIRS  is  the  name  given  to  the 
stones  forming  the  arch. 

(6)  The  KEYSTONE  is  the  center  or  upper- 
most voussoir,  D.  so  called  because  it  is  the  last 
stone  set,  and  wedges  or  keys  the  whole 
together.  Keystones  are  frequently  allowed  to 
project  from  the  faces  of  the  wall  and  in  some 
buildings  are  very  elaborately  carved. 

(7)  The  INTRADOS  or  SOFFIT  of  an  arch 


130  ARCHITECTURAL   DRA^aNG   SELF  TAUGHT 

is  the  under  side  of  the  voussoirs  forming  the 
curve. 

(8)  The  EXTRADOS  or  BACK  is  the  upper 
side  of  the  voussiors. 

(9)  The  THRUST  of  an  arch  is  the  tendency 
which  all  arches  have  to  descend  in  the  middle, 
and  to  overturn  or  thrust  asunder  the  points  of 
support.  The  amount  of  the  thrust  of  an  arch 
depends  on  the  proportions  between  the  rise  and 
the  span;  that  is  to  say,  the  span  and  weight  to 
be  supported  being  definite,  the  thrust  will  be 
diminished  in  proportion  as  the  rise  of  the  arch 
is  increased,  and  the  thrust  will  be  increased  in 
proportion  as  the  crown  of  the  arch  is  lowered. 

(10)  The  JOINTS  of  an  arch  are  the  lines 
formed  by  the  adjoining  faces  of  the  voussoirs: 
these  should  generally  radiate  to  some  definite 
point,  and  each  should  be  perpendicular  to  a 
tangent  to  the  curve  of  each  joint.  In  all  curves 
composed  of  arcs  of  circles,  a  tangent  to  the 
curve  at  any  point  will  be  perpendicular  to  a 
radius  drawn  from  the  center  of  the  circle 
through  that  point,  consequently  the  jomts  in 
all  such  arches  should  radiate  to  the  center  of 
the  circle  of  which  the  curve  forms  a  part. 

(11)  The  BED  of  an  arch  is  the  top  ot  the 
abutment;  the  shape  of  the  bed  depends  on  the 


AKCHITECTURAL   DRAWING   SELF  TAUGHT  131 

qualit}'   of  the   curve,   and   is   explained    in    the 
diagrams. 

(12)  A  RAMPART  ARCH  is  one  in  which  the 
springing  lines  are  not  on  the  same  level. 

(13)  A  STRAIGHT  ARCH  or,  as  it  is  more 
properl}'  called,  a  plat-baiid,  is  formed  of  a  row 
of  wedge  shaped  bricks  or  stones  of  equal 
depth  placed  in  a  horizontal  line;  the  upper 
ends  of  the  pieces  being  broader  than  the  lower, 
prevents  them  from  falling  down. 

(14)  ARCHES  are  named  from  the  shape  of 
the  curve  of  the  underside,  and  are  either  simple 
or  complex.  The  simple  curves  may  be  defined 
as  those  that  are  described  from  one  center, 
as  Fig.  122,  or  by  a  continuous  motion,  as  the 
ellipse,  parabola,  hyperbola,  cycloid,  and 
epicycloid;  and  complex  arches  are  those 
which  are  described  from  two 

or  more  fixed  centers,  as  many 
of  the  Gothic  and  Moorish 
arches  are. 

Fig.   124  shows  the  manner 
of  drawing  a  segmental  arch 
The  center  of  this  is  below  the  springing  lines. 
A  segmental    arch,  drawn    out    for    brickwork, 
is  shown  at  Fig.  125,  in  which  the  joint  lines  are 
marked  off. 


132 


ARCHITECTURAL    DRAWING   SELF  TAUGHT 


A  segmental  arch  drawn  from  two  centers  is 
shown  at  Fig.  126,  The  centers  are  shown  so 
that  the  student  will  have  no  trouble  in  describ- 


Fig.    125 


ing  it.  The  joints  for  brick  or  stone  work  may 
be  laid  out  around  this  arch,  by  using  the  centers 
as  fixed  points  and  running  radial  lines  through 
the  curved  lines. 

The  diagram  shown  at  Fig.  127  illustrates  a 


V 

Fig.   127 


Fig.   128 


Tudor  arch.  It  is  struck  from  three  centers  as 
shown.  It  is  sometimes  called  an  elliptical 
Gothic    arch,   and    may   be    struck   as   follows: 


ARCHITECTURAL   DRAWING   SELF  TAUGHT  133 

Divide  the  span,  ad,  Fig.  128,  into  three  equal 
parts  by  the  points,  ef.  From  a,  with  radius  a,J\ 
describe  an  arc,  and  from  e,f,  and  d,  describe 
similar  arcs,  which  intersect  at  ij.  Now  bisect 
the  span,  ad,  and  raise  a  perpendicular  to  i. 
Draw  a  line  through  if  and  je,  and  produce 
these  lines.  With  compasses  from /with  radius, 
fd,  describe  arc  to/,  and  from  e,  with  the  same 
radius,  describe  a  similar  arc  to  nh.  Then  from 
i  with  radius  ij,  describe  arc,  ji,  and  from  /  same 
radius,  the  curve  hi,  when  the  interior  curve  of 
the  arch  will  be  completed,  the  remainder  of  the 
arch  being  set  out  in  the  usual  manner. 

The  elliptical  arch  can  best  be  described  with 
the  trammel  shown  at  Fig.  69,  or  with  a  string 
as  described  at  Fig.  68,  but  the  joints  for  brick 
or  stone  work  must  be  obtained  by  a  method 
very  different  from  that  illustrated  for  circular 
arches.  To  obtain  the  correct  lines  for  the 
elliptical  arch  shown  at  Fig.  129,  we  must  pro- 
ceed as  follows:  Let  ZZ  be  the  foci,  and  B  a 
point  on  the  Intrados  where  a  joint  is  required; 
from  ZZ  draw  lines  to  B,  bisect  the  angle  at  B 
by  a  line  drawn  through  the  intersecting  arcs 
D  produced  for  the  joint  to  F.  Joints  at  i  and 
2  are  found  in  the  same  manner.  The  joints  for 
the  opposite  side  of  the  arch  may  be  transferred 


134 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


as  shown.     The  semi-axes  of  the  ellipse,  H  G, 
G  K,  are  in  the  same  ratio  as  G  E  to  G  A.     The 

K 


voussoirs  near  the  springing  line  of  the  arch  ar^ 
thus  increased  in  size  for  greater  strength. 

The  diagram  shown  at  Fig.  130  shows  a  lancet 


S~E 


Fig.  130. 


Fig.  131. 


arch.  This  is  drawn  by  placing  the  centers  of 
the  curves  outside  the  figure  as  at  G  and  F.  E 
O,  show  the  width  of  the  opening,  and  H  J,  the 
height. 


ARCHITECTURAL    DRAWING    SELI'  TAUGHT  135 

A  completed  lancet  arch  is  shown  at  Fig.  131, 
the  radial  or  joint  lines  being  exhibited.  These 
lines  are  drawn  from  the  centers  in  all  cases. 

The  diagram  shown  at  Fig.  132  represents  an 
equilateral,  Gothic  arch.  This  is  drawn  with  the 
compasses  set  to  the  width  of  the  opening,  one 
leg  being  placed  at  the  junction  of  the  springing 
line  when  the  other  leg  describes  the  curve  of 


Fig.   132. 

one  side.     The    same  process  forms  the  other 
side  of  the  arch. 

The  completed  equilateral  arch  is  shown  at 
^ig-  '^33'  with  the  method  of  laying  out  the 
curves.  The  centers  being  X  and  Y.  As  before 
stated,  the  joints  in  all  these  arches  should  be 
struck  at  right  angles  to  tangents  of  the  curve, 
which  in  the  case  of  arcs  of  circles  will  cause  the 
joints  to  radiate  to  the  center  from  which  the 
curve  is  struck.  There  are  cases,  however, 
when  this  rule  cannot  be  followed,  as  take  the 
^st  Illustration  Fi-;;.  133,  for  instance,  when  the 


186  ARCHITECTURAL   DRAWING   SELF  TAUGHT 

bonding  is  not  what  a  good  workman  would 
desire,  yet  it  is  better  than  the  bonding  shown 
in  Fig.  134,  though  perhaps  not  so  handsome; 
that,  however,  is  a  matter  of  taste.  The  employ- 
ment of  the  method  shown  at  Fig.  133  gets  rid 
of  the  small  angle  closers  which  show  in  the 
crown  of  Fig.  134.  To  get  the  lines  properly,  as 
shown  in  Fig.  133,  run  up  the 
two  dotted  lines  at  an  angle 
of  fifty  degrees,  with  the 
springing  line  X  Y,  on  each 
side  of  the  arch.     These  are 

produced  to  cut  through  the 
Fig.  134  ^  _  ^ 

curve  lines  at  C  and  D. 

The  joints  of  the  arch  from  X  to  C  are 
radiated  to  Y,  those  from  D  to  Y  to  X,  and 
those  In  the  upper  portion  of  the  arch  to  the 
intersection  of  the  two  inner  lines  at  B,  whereby 
the  bricks  at  the  crown  are  eased  off.  In 
pointed  or  two-centered  arches,  other  than 
equilateral,  the  same  method  maybe  followed, 
the  angles  of  the  dotted  lines  being  greater  or 
less  as  the  circumstances  of  the  case  may  require. 

In  setting  out  gauged  arches  care  must  be 
taken  to  draw  first  a  middle  or  "key"  brick  at 
the  crown  of  the  arch,  the  object  being  to  pro- 
vide a  brick  to  resist  the  Increased  strain  at  the 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


137 


Fie:.  !• 


point;  and  secondly,  to  have  the  effect  of  pro- 
ducing an  equal  number  of  bricks  in  the  arch 
excluding  the  key,  so  that  it  may 
be  finished  the  same  on  each  side. 
The  next  arch  is  drawn  upon 
the  same  principles  as  the  ogee 
curve  shown  in  Fig.  135,  and  with 
the  construction  lines  given  re- 
quires no  further  explanation.  It  is  defective  as 
a  scientific  arch,  but  occurs  often  in  the  Deco- 
rated Period,  towards  the  end  of  the  fourteenth 
century.  After  that  period  the  arches  were 
made  flatter,  examples  of  which  are  the  seg- 
mental, or  two-centered,  and  the  Tudor,  or 
four-centered,  arches. 

To   describe    an    equilateral    ogee   arch,   like 
Fig.    136,    proceed    as    follows:     Make    YZ    the 
given  span;  make  YX  equal  YZ,  bisect  YZ  in  A; 
on  A  as  center,  with  A  Y  as  ra- 
dius, describe  the  arcs  Y  B   and 
Z    C;    on   B   and   X    as  centers 
describe  the  arcs  B  D  and  X  D, 
and  on  C  and  X  as  centers  de- 
scribe the  arcs  C   E  and   X   E; 
on   E  and  D  as  centers  describe 
the  arcs  B  X  and  C  X. 
The  flat  ogee  arch  shown  at  Fig.  137  requires 


138 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


some  little  different  treatment  to  the  previous 
one.  To  obtain  the  proper  curves  and  centers 
for  this  style  of  arch  proceed  as  follows:     Let 

A  B  be  the  outside  width 
of  the  arch,  and  C  D  the 
height,  and  let  A  E  be  the 
breadth  of  the  rib. 

Bisect  A  B    in   C,  and 

erect    the    perpendicular 

C  D;  bisect  A  C  in  F,  and 

V    draw  F  J  parallel  to  C  D. 

Through   D  draw  J   K  parallel  to  A  B,  and 

make  D  K  equal  to  D  J. 

From  F  set  off  F  G  equal  to  A  E,  the  breadth 
of  the  rib,  and  make  C  H  equal  to  C  G. 

Join  G  J  and  H  K;  then  G  and  H  will  be  the 
centers  for  drawing  the  lower  portion  of  the 
arch,  J  and  K  will  be  the  centers  for  describing 
the  upper  portion,  and  the  contrary  curves  will 
meet  in  the  lines  G  J  and  H  K. 

This  style  of  arch  is  seldom  used  in  substantial 
work  other  than  in  Gothic  architecture;  the 
carpenter,  however,  often  makes  use  of  it  in 
porch,  veranda  and  arbor  work,  and  sometimes 
in  grille  work,  so  it  is  well  to  have  a  knowledge 
of  it. 

Another    arch,   not    in   common   use,   is    the 


ARCHITECTURAL   DRAWING   SELF   TAUGHT 


139 


horseshoe  or  Moorish  arch;  two  examples  are 
shown  at  Fiors.  138  and  139.  In  the  first  the 
curve  is  struck  from  a  center  situated  above  the 
springing  line.     This  is  said  to  be  the  strongest 


Fig.  138. 


Fig.   139. 


of  all  arches  when  properly  constructed  and  is 
often  employed  for  tunneling  and  other  heavy 
work  where  great  resisting  strength  is  required. 

The  figure  shown  at  139  is  sometimes  called  a 
Gothic  horseshoe  arch  because  of  its  being 
pointed.  It  is  somewhat  similar  to  the  last,  but 
is  struck  from  two  centers,  I  and  J.  The  special 
peculiarities  of  these  arches  is,  that  they  are  nar- 
rowed in  on  the  springing  lines,  which  gives  to 
them  a  pleasing  appearance. 

Often  arches  are  formed  by  having  them  two 
or  more  bricks  deep,  or  they  may  be  rough  and 
turned  in  half-brick  rings,  4^  inches  thick,  as 
shown  at  JiJi  In  Fig.  140.  In  arches  of  quick 
curve,  with  not  more  than  2  or  3  feet  radius, 
this  method  is  absolutely  necessary  to  prevent 


140 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


very  large  points  at  the  extrados.  In  the  section 
of  portions  of  small  arches  shown  in  the  illus- 
tration, of  which  one  wzv  is  turned,  in  nine  inch 
rings  consisting  of  headers.     It  will  be  seen  that 


Fig.  140. 


the  mortar  joints  in  this  are  much  wider  at  the 
top  than  those  of  the  portion  hh,  built  in  rings 
half  a  brick  in  thickness.  The  line  of  joints  in 
both  these  examples  are  radial,  all  being  drawn 
from  the  center  point. 

The  most  common — so-called  arch — is  what  is 
termed  "gauged  straight  arches,"  and  with  these, 
in  brickwork,  the  draftsman  will  have  the  most 
to  deal,  and  I  purpose  showing  him  several 
examples.  Such  arches  are  in  very  common  use, 
and  are  generally  12  inches,  or  four  courses  of 
brickwork,  in  depth. 

The  sommering  or  splay  of  the  bricks  depends 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


141 


Fig.  141. 


upon  the  angle  given  to  the  skewbacks  or 
springings,  and  varies  with  the  distance  of  each 
voussoir  from 
the  springing. 

The  skew- 
backs  are  gen- 
erally inclined 
at  60°  from  the 
horizontal,  and  are  struck  by  prolonging  the  sides 
of  an  equilateral  triangle,  as  shown  on  Fig.  142.. 
The  joints  give  a  better  appearance  when 
horizontal  as  at  B,  Fig.  141;  but  to  save  labor 
they  are  frequently  formed  as  at  A,  and  care- 
fully concealed  by  rubbing  over,  false  horizontal 
joints    being  marked    on    the    face,   though   in 

course  of  time 
the  true  joints 
are  sure  to  show 
up  and  expose 
the  sham. 

The    arch 

shown    at    Fig. 

142  is  sometimes 

•  \/  called   a  French 

^^s-'^^"-  or   Dtdch    arch. 

It  is  sometimes  used  by  builders  when  intended 

to  be  plastered  or   covered  over.     Such  arches 


U2 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


are  unreliable,  and  the  draftsman  should  never 
make  them  if  intended  to  be  built,  unless  they 
are  to  be  built  up  in  good  Portland  cement 
mortar.  The  joints  may  be  arranged  as  shown 
at  A  or  at  B;  if,  as  at  A,  only  whole  bricks  should 
be  used. 

Sometimes,  in  building  arches  of  this  kind,  it 
may  be  necessary  to  "plug"  the  brickwork  as 
shown  at   PPPP,   Fig.   143,  for  the    purpose   of 


Fig.  143. 


attaching  finished  work  to  them  by  screws  or 
other  devices,  and  the  draftsman  must  note  this 
■on  his  drawings  in  order  to  save  future  trouble. 
The  manner  of  forming  the  skewbacks  is  shown 
in  this  illustration,  at  o  o;  the  angle  of  this  line 
should  be  about  sixty  degrees. 

In  placing  in  arches  of  this  kind,  there  must 
always  be  timber  or  concrete  lintel  behind  the 
face  bricks  to  carry  the  wall,  and  over  this 
lintel,  there  should   be    a  relieving  arch   builv. 


AliCHITECTURAi.   DRAWING   SELF  TAUGHT 


14? 


This  latter  arch  is  orenerally  built  up  roughly 
unless  it  is  intended  to  carry  a  great  weight,  then 
care  must  be  taken  in  its  construction. 

Before  leaving  the  subject  of  arches  it  may 
be  well  to  exhibit  some  examples  in  stone,  and 
should  the  student  never  be  called  upon  to 
prepare    drawings    for    such    work,    their   con- 


-s              /      r 

m 

/ 

Fig.  144. 


struction  on  paper  will  make  good  practice. 
The  example  shown  at  Fig.  144  is  a  very 
common  one  in  stonework  and  shows  how  the 
style  of  work  is  prepared.  It  will  be  seen  that 
the  joints  are  generally  radial,  while  horizontal 
joints  are  formed  to  receive  the  stone  above. 

Another  style   of    opening   in    stonework    is 
shown   at   Fig.    145,   where    the    head    of    the 


144  ARCHITECTURAL   DRAWING   SELF  TAUGHT 


PLATE  9. 

Plate  9  shows  three  examples  of  inside  finish — 
a  door,  a  window,  and  sliding  door  —  opening 
with  trim.  These  like  the  other  examples  shown 
in  Fig.  8  are  easily  understood. 


INSERT  FOLDOUT  HERE 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


145 


window    or  door   is   flat.     There   is   a   relieving 
arch  thrown  over  the  Hntel  or  cap  to  carry  the 


«UBBL£ARCH 

■'4 


Fig.  145. 

weight  over  to  the  jambs.  The  face  of  the 
window  is  all  of  dressed  stone,  while  the  walls 
are  formed  of  irregular  stones. 


Fig.  146. 

Another  style  of  work  is  shown  at  Fig.  146, 
where  the  walls  are  formed  of  square  stones  laid 


146  ARCHITECTURAL   DRAWING   SELF  TAUGHT 


Fig.  147. 


up  in  irregular  courses,  and  the  relieving  arch 
ends  against  a  regularly  prepared  skewback. 


/ 
ARCHITECTURAL   DRAWING   SELF   TAUGHT  147 

At  Fig.  147  are  grouped  some  of  the  principal 
forms  of  arch  shown  in  architecture.  At  A  is 
the  semicircular  arch,  describing  half  a  circle. 
B  is  a  form  of  elliptical  arch,  not  unfrequently 
employed.  It  is  not,  in  reality,  elliptical  at  all, 
save  in  appearance,  being  a  segmental  arch,  or 
one  formed  by  the  segment  of  a  circle,  which  is 
struck  from  below  the  springings.  The  elliptical 
arch  C  is  formed  of  several  circles.  The  stilted 
arch  D  rises  from  points  below  its  center.  The 
Gothic  architects  employed  various  forms  of  the 
pointed  arch  at  different  epochs.  E  is  what  is 
usually  termed  an  equilateral  arch,  so  called 
because  the  two  springing  points  and  the  crown 
of  the  arch  form  an  equilateral  or  equal-sided 
triangle.  F,  the  lancet  arch,  is  more  pointed 
than  the  preceding.  It  is  struck  from  outside 
the  springings,  and  has  the  outline  of  an  isosceles 
or  equal-legged  triangle,  of  which  the  base  is,  of 
course,  less  than  the  sides.  G,  the  "drop"  arch, 
in  contradistinction  to  the  last  example,  is  less 
pointed  than  the  equilateral  arch.  It  is  struck 
from  within  the  springings,  and  has  a  triangular 
outline,  in  which  the  base  is  longer  than  the 
sides.  H,  the  "segmental  Gothic  arch",  is 
composed  of  two  segments  of  a  circle,  meeting 
obtusely.     I,  the  "ogee"  arch,  was  introduced  at 


148  ARCHITECTURAL    DRAWING    SELF   TAUGHT 

a  late  period  of  Gothic  architecture,  and  is 
struck  from  four  points.  K,  the  "Tudor,"  arch 
prevailed  during  the  close  of  the  Gothic,  and 
takes  its  name  from  the  then  ruling  family  of 
the  English  dynasty.  It  has  a  much  flattened 
arch,  low  mouldings,  and  a  profusion  of  panel- 
ings.  I  now  come  to  arches  of  the  form  that  are 
designated  "foiled"  arches,  imitating  the  foils 
or  leaflets  of  a  leaf,  which  are  generally  divided 
into  three  varieties,  viz.,  trefoils,  cinquefoils,  and 
polyfoils.  L,  M,  N  exhibit  three  forms  of  the 
"trefoil"  or  three-lobed  arch,  O  is  an  example  pf 
the  cinquefoil  or  five-lobed  arch,  and  P,  one  of 
the  "polyfoil"  or  many-lobed  arch.  The  latter 
form  is  principally  confined  to  Romanesque  and 
Saracenic  architecture,  and  is  especially  met 
with  in  Moorish  and  Saracenic  buildings.  The 
latter  people  also  employed  a  peculiar  arch, 
special  to  themselves,  and  generally  styled  the 
"horseshoe"  arch,  shown  at  Q.  This  is  only 
found  in  Arabic  or  Moorish  buildings.  The  so- 
called  "flat"  arch,  R,  is  in  reality  not  an  arch  at 
all,  though  the  voussoirs  are  so  arranged  as  to 
radiate  from  a  center,  and  are  laid  in  parallel 
courses.  This  arch  is  employed  in  doorways, 
windows,  and  fireplaces  of  buildings,  and  the 
intrados  are  generally  supported   by   a   bar   of 


ARCHITKCTURAL    DRAWING    SELF    TAUGHT 


149. 


iron  or  beam  of  wood.  In  some  very  ancient 
examples  tlie  voussoirs  are  cut  to  a  peculiar 
form,  with  the  idea  of  securing  great  stability 
and  strength,  as  shown  at  Fig.  148,  which  is 
copied  from  the  fireplace  of  Coningsbergh 
Castle. 

I  think  the  foregoing  illustrations  of  arches 
and  the  accompan^-ing  description  are  quite 
sufficient   for  my   purpose,   as    the'  student  caa 


•|\^\\\  //////^-[ 


Fig.  148. 

gather  from  them  all  he  will  immediately  require 
to  know,  and  after  a  thorough  mastery  of  these 
examples  he  will  have  no  difficulty  in  obtaining 
a  higher  knowledge  from  the  thousand  and  one 
other  sources  that  are  available,  should  lie  so 
desire. 


SOME    MISCELLANEOUS    PRACTICE 

Suppose  it  is  necessary   to  show  a  door  and 
casings  in  abrick  wall,  with  jamb  linings,  grounds 


150 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


and  other  finishings,  we  commence  by  first 
laying  out  the  plan  as  shown  at  Fig.  149;  we 
decide  upon  the  height  and  width  of  door,  also 


Fig.  149. 

style  of  door,  and  finish,  and  work  to  scale 
accordingly.  In  this  case  I  show  an  elevation, 
Fig.    151,    and    plan    respectively   with    a    four 

paneled  door  with 
p..  J  jamb  and  soffit  lining. 
Fig.  150  shows  a  por- 
tion of  the  plan  en- 
larged. 

In  this  case  it  will 
be  seen  that  the  door 
is  hung  to  the  jamb 
lining  itself;  the  lat- 
ter is  attached  to  a 
backing  ba  dovetailed  in  between  the  framed 
grounds,  and  secured  to  wood  bricks  in  the  wall, 
the  edges  of  which  may  be  seen  in  section 
Fig.  152. 

In  some  cases  the  grounds  are  tongued  into 


Fig.  150. 


iltCHITECnjRAl    DRAWlXN>3   SELF  TaCGHT  151 


the    jamb     linings,    but     this     is    very    seldom 
done. 


mmm 


Fig.  152. 

The  jamb  linings  go  right  through  the  depth 
of  the  opening,  and  on  one  side  of  the  wall  have 
their  edges    rebated    to    receive  the   door;    the 


152 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


^t-J^^^??l  '^?:;''^7v^:^<^:^-/7i^ 


Fig.  153. 


edges  on  the  other 
side  of  the  wall 
being  (in  superior 
work)  similarly  re- 
bated  to  corre- 
spond. 

The  soffit  lining 
is  secured  to  cra- 
dling or  backing  c, 
consisting  of  rough 
stuff  attached  to 
the  under  side  of 
the  lintels  over  the 
opening. 

Of  course  the 
doorway  might  be 
spanned  by  a 
rough  brick  arch, 
or  by  a  concrete 
beam,  w  1  L  h  o  u  t 
wood  lintels,  i  n 
which  case  the 
framing  would  be 
secured  to  plugs 
let  into  the  arch 
or  beam. 

The      enlarged 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


153 


plan  in  Fig.  150  differs  slightly  from  Fig.  149, 
inasmuch  as  a  smaller  architrave  is  shown  on 
the  inside  of  the  doorway.  The  paneling  of  the 
soffit  lining  is  often  shown  in  dotted  lines  upon 
the  plan  of  the  doorway. 

The  whole  ele- 
vation of  one  side 
of  the  door  is 
shown  at  Fig.  151, 
and  a  section  is 
shown  at  Fig.  152, 
with  a  portion  of 
the  jamb  lining  re- 
moved. This  latter 
is  a  good  scheme 
as  it  shows  the 
workman  exactly 
what  is  required  of 
him. 

The  illustration 
shown  at  Fig.  153  shows  a  vertical  section  oi 
a  window  and  frame  for  a  brick  house.  It  is 
purposely  cut  short  in  order  to  show  all  the 
parts.  It  will  be  readily  understood,  as  WL 
stands  for  wood  lintel,  b  j  for  bottom  joints. 
ib  inside  blinds,  etc.  Fig.  154  shows  the  same  win- 
dow in  f  levation  with  shutters  or  blinds  in  sight. 


Fig.  154- 


154 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


The  plan  is  shown  at  Fig.  155.  This  shows 
the  shutters  box  splayed  from  the  wall.  The 
dotted  lines  show  the  shutters  partly  folded. 

In  redrawing  these  examples  the  student 
should  make  them  at  least  twice  or  three  times 
the  size  shown    herewith;    this  can  readily  be 


Fig.  155- 


done  by  taking  the  distances  on  a  compass  and 
transferring  to  the  paper  on  which  the  drawing 
is  to  be  made.  If  the  drawing  is  to  be  twice  the 
size  of  the  original,  then  space  off  the  distance 
of  each  feature  twice,  if  to  be  three  times  the 
distance,  then  space  off  three  times,  and  so  on 
for  other  sizes.  By  following  this  advice,  the 
student   will   become    familiar   with    his   instru- 


ARCHITECIL RAL    DRAWaXG    SELF   TAUGHT 


155 


ments  and  with  the  various  kinds  of  work. 
Indeed,  this  work  is  intended,  besides  being  a 
teacher  of  primar\-  drawing,  to  be  a  helper  in 
obtaining  some  knowledge  of  architectural  con- 
struction as  well;  for, 
it  is  supposed,  it  will 
fall  chiefly  into  the 
hands  of  young  stu- 
dents,  apprentices, 
and  fellows  who  have 
not  had  a  fairly  good 
opportunity  of  ac- 
quiring a  knowledge 
of  either  drawing  or 
construction,  but  who 
are  desirous  of  learn- 
ing what  the}'  can  of 
both,  during  their 
spare  moments. 

The  plates,  follow- 
ing the  general  illus- 
trations, will  place  before  the  student  many 
things  not  as  yet  touched  upon,  but  I  have 
deemed  it  necessary' to  show  a  few  miscellaneous 
items  both  for  practice,  and  because  of  their  con- 
structive value  to  the  young  builder. 

The  door  and  casing  shown   in   Fig.  156  is  a 


Fig.  156. 


156 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


good  example  for  drawing;  its  proportions  are 
nearly  perfect,  and  the  style  is  modern.  This  is 
an  inside  door  as  shown  by  the  base. 

The  sliding  doors  shown  at  Fig.  157  are  very 
nearly  built  in  the  same  style  as  the  single  door 


Fig.  157. 

shown  in  Fig.  156.  These  may  be  drawn  to  any 
special  scale,  or  they  may  be  transferred  from 
the  illustration.  I  show  a  section  of  the  wall 
into  which  the  sliding  doors  run  at  Fig.  158. 
This  drawing  shows  the  method  of  construction. 


ARCHITECTURAL    DRAWING   SELF   TAUGHT 


157 


the  end-wood  of  the  studding  being  seen;  also, 
the  linings  to  protect  the  pocket. 

The  illustration,  as  Fig.  159,  shows  a  method 


Fig.  158. 

of   adjusting   the   joint  at    the   junction   of   the 
doors.     The  section  shows  clearly  how  the  joint 

is  hidden  from  view.  

A  section  and  elevation 
of  trim  for  a  door  is 
shown  in  Fig.  160.  In 
this  drawing  the  door, 
the    step,    the    stud,    the 

plaster  and  the  trim  are  shown  in  place,  and  at 
the  bottom,  the  plinth  *block  and  base  are  also 


Fig.  159. 


158 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


shown  in  section.     This  style  of  finish   is  called 
"block  finish,"  because  of  the  turned  block  being 

placed  on  the  corner. 
Fipr.  i6i  exhibits  a 
corner  of  a  balloon 
frame,  showing  the 
manner  of  placing 
the  studs,  corner 
boards  and  other 
finish. 

I  show  at  Fig.  162 
a  drawing  of  a  cor- 
nice for  a  balloon 
frame    house.      The 


Fig.  161, 


Fig.  160. 

method  of  construction  is  made  quite  apparent 
and  can  easily  be  followed.  The  walls  are 
boarded  or  "sheeted"  on  the  outside,  and  then 
covered  with  siding  or  clapboards. 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


159 


The  next  drawing,  Fig.  163,  shows  a  section  of 
a  corner  for  a  brick  wall.     The  gutter  and  com* 


Fig.  162. 

plete  finish  for  cornice  are  shown;  also,  an  iron 
rod  or  anchor  built  into  the  wall,  having  a  nut 
on   the  top  which   is  intended  to  hold  the  plate 


160  ARCHITECTURAL    DRAWING    SELF    TAUGHT 


PLATE   lo. 

This  plate  shows  a  number  of  details  half  life 
size.  A  portion  of  elevation  and  section  of 
trim  head  are  given,  also  section  of  casing,  picture 
frame  mould,  plinth-block,  base  and  floor  step. 
The  face  of  plinth-block  is  also  shown. 


INSERT  FOLDOUT  HERE 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


161 


in  its  place  on  the  wall.  A  section  of  a  box 
window  frame  is  shown  at  Fig.  164.  The  weights 
are  seen  in  the  box,  the  stud  forming  part  of  the 
box.  This  is  designed  for  a  balloon  frame 
house,  and  it  will  be  seen  that  the  inside  trim 


'Fig.  163. 

forms  one  side  of  the  box.  This  is  an  exceed- 
ingly cheap  way  to  make  a  frame  as  but  very 
little  stuff  is  required  in  its  construction. 

The  section  of  window  frame  shown  in  Fig. 
165   exhibits   the  portion  cut  at    the   sill.     This 


1G2 


ARCHITECTURAL   DRAWING    SELF   TAUGHT 


Fig.  164. 


shows   the   construction   of    the    frame    at    the 
bottom,  including  inside  and   outside  finish. 

It  will  be  in  order 
now  to  follow  the 
plates  I  have  pre- 
pared, In  which  a 
large  number  of 
constructive  de- 
tails are  presented. 
I  would  advise  that 
the  student  copy 
each  item  as  pre- 
sented, making 
each  one  twice  the  size  as  shown  on  the  plates; 
this  will  make  instruc- 
tive practice  and  will 
soon  fit  the  young- 
draftsman  for  work  of 
a  higher  and  more  elab- 
orate kind. 

The  foregoing  illus- 
trations have  been 
especially  prepared  and 
drawn,  with  a  view  of 
leading  the  student  by 
easy  steps  to  a  fair  knowledge  of  the  use  of  his 
instruments  and  the  laying  out  of  work  on  paper. 


Fig.  165. 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


163 


Each  item,  too,  has  a  constructive  value,  as 
all  are  drawn  from  examples  of  actual  work, 
and  will,  therefore,  convey  in  some  measure  a 
true  knowledge  of  construction,  without  which 
the  work  of  the  mechanical  draftsman  has  but 
little  value. 

Str^ght  Line. 


Corred  Line. 


Fig.   1 66. 


SOME  ORNAMENTAL  EXAMPLES 

We  have  now  reached  a  stage  where  an 
attempt  at  ornamental  geometrical  drawing  is 
permissible,  and  though  it  is  not  my  intention 
to  go  deeply  into  this  subject,  a  few  examples 
along  with  brief  descriptions  will  probably  start 
some  of  my  readers  on  a  course  of  drawing 
extending  far  beyond  the  limits  of  this  work. 

This  kind  of  drawing — like  most  other 
drawing — is  composed  of  straight  lines,  curved 
lines  and  mixed  lines,  as  shown  in  Fig.  i66,  but 


164 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


such  lines  are  regular,  and  are  made  by  the  aid 
■of  compasses,   or    other    instruments,  and    this 


^"^y^ 

'»•'          L         .            TV^r 

\ 

/ 

^ 

Fig.  1 68. 

fact    distinguishes    geometrical    drawings    from 
drawings  wrought  freehand.     Suppose  we  desire 


<e 


"(' 


A  \ 


ff  / 


\L 


^7n>  I 
I 
/ 


M 


Fig.  169. 


Fig.  J  70. 


Fig. 


to  show  a  square  diagonally  either  for  ornamental 
or    practical    purposes,   we    simply    proceed    as 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


165 


follows:  Figs.  167  and  168  show  the  diagrams; 
join  the  l\nes  a  b,  c  d,  Fig.  167,  crossing  at  e,  as 
shown  in  Fig.  168.  Take  half  c  d,  Fig.  167,  as  c 
e,  and  set  it  off  from  m,  Fig.  168,  to  e  h,  g  f; 
join  these,  and  parallel  to  them  draw  the 
internal  squares  and 
we  have  a  figure 
more  or  less  orna- 
mental. Again,  sup- 
pose we  desire  a 
"lozenge"  or  dia- 
mond shape;  this  ^' 
can  be  accomplished  ^ 
by  a  similar  method 
as  shown    at    Figs. 

169  and    170.     Fig. 

170  shows  the  man- 
ner in  which  it  is 
drawn;  two  lines  c  b, 
and  e  d,  intersect  at 
a;  a  c,  a  b,  a  e,  a  d, 
are  each  equal  to  half  of  a  b,  e  f,  Fig.  169;  and 
a  h,  a  m,  a  g,  a  f,  Fig.  170,  to  half  of  h  m,  e  d, 
F^ig.  169.  Let  us  put  one  of  these  examples  to 
some  further  purpose;  this  is  done  in  Fig.  171, 
which  shows  how  this  style  of  drawing  may 
"be  used  for  filling  in  spaces. 


■    /  /  \  A  \ 

//  \   /  \\ 


'    J 


V 

Fig.  172. 


166  ARCHITECTURAL   DRAWING   SELF  TAUGHT 

The  example    shown  at    Fig.   172  exhibits  a 
method   of   drawing  a   design    for   a   diamond- 
shaped    pattern. 

ff     s^     P,      ^      e    <f    ^^^    dotted    Hnes 
^     \?'/\  //i\  /^\  /     /    /      show  the  construc- 
tion,  the   distance 
/  between    the    dia- 

mond as  e  f  g  h,  a 
bed,  being  equal 
pj  to  the  distance  a  f, 

a  d  e.  The  use  of 
this  is  probably  shown  at  Fig.  173,  when  a  design 
for  tile  patterns  is  shown,  the  lines  a  b  c  d  f  are 
drawn  to  the  angle  shown  and  are  parallel    to 


Fig-   174- 

each  other,  the  distances  being  shown  at  i  h  g. 

Another    illustration    of    a   square    being   set 

diagonally  is  shown  at  Fig.  174,  which  illustrates 


ARCHITECTURAL    DRAWING   SELF   TAUGHT 


167 


an  open  balustrade  in  Gothic  style.  The  student 
should  have  no  difficutly  whatever  in  laying  this 
diagram  off,  as  it  is  a  very  simple  matter. 

Figs.  175  and  176  show  another  design  having 


^^ 


^tR 


^"ig.  17  = 


six  sides,  which  is  often  employed  in  decoration 
and  in  Gothic  architecture.  The  manner  of  lay- 
ing it  out  is  shown  in  Fig.  175,  and  completed 
figures  are  shown  at  Fig.  176. 


Fig.  177. 

The  same  figure  in  conjunction  with  the  square 
is  shown  in  finished  work  at  Fig.  177.  This 
represents  a  perforated  balustrade  or  parapet; 
the  curved  lines  are  obtained  by  the  compass, 
centers  being  easil}-  found. 


168 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


A  Still  more  complicated  figure  is  shown  a< 
Fig.  178.  This  may  be  formed  as  follows:  If 
the  points  12,  23,  34,  45,  56,  67,  78  are  joined,  an 
octagon  will  be  formed,  and  a  square  by  joining 
9  10,  12  II.  The  octagon  forms  the  basis  of  the 
combination,  and  is  the  first  thing  to  be  drawn, 


zzMs:\ 


Fig.  178. 


which  may  be  done  as  in  Fig.  179,  by  forming  a 
square,  and  thereafter  an  octagon  the  side  of 
which  is  equal  f  e,  f  g.  Draw  lines,  i  i  m,  distant 
fiom  each  other  equal  to  the  distance  between 
the  rhomboids  in  Fig.  178.  Parallel  to  the 
diagonal  lines  c  b,  a  d,  draw  lines  equal  to  i  i. 
From  e,  one  end  of  the  octagon  side,  draw  a  line 


ARCHITECTURAL    DR.\WING    SELF   TAUGHT 


169 


perpendicular  to  c  d,  joining  the  diagonal  a  d 
in  h.  From  n,  the  end  of  another  side  of  the 
octagon,  draw  parallel  to  c  d,  a  line  cutting  the 
diagonal  d  a  in  o,  parallel  to  e  h,  k  t;  draw  lines 
p  t,  n  s;  two  of  the  rhomboids  will  thus  be 
formed;  the  remainder  are  drawn  in  a  similar 
way.  These  being  obtained,  the  squares,  as  in 
Fig.  i/S,  are  easily  drawn. 

Some  good  examples  in  straight  line  work  are 
shown  in  the  following  illustrations.     Thus,  we 


Fig.  1-9- 


Fig.  1 80. 


see  by  making  diagonal  lines,  as  shown  at  Fig. 
180,  the  character  of  the  example  becomes 
ornamental,  and  this  maybe  very  much  changed 
again  by  the  introduction  of  small  circles  at  the 
junction  of  the  lines,  as  shown  in  one  instance. 
This  may  again  be  elaborated  by  adding  a  line 
or  dot  to  the  circle  as  shown. 

Another  example  formed  of  squares  and   half 


17C 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


squares  is  shown  in  V\g.  i8i.  This  arrangement 
shows  how  "squares"  may  be  placed  so  as  to 
exhibit  stars  or  other  pointed  ornaments.  The 
shaded  portion  shows  the  star  figure. 

Another    example    partaking    of     the    same 
nature     is    shown    at     Fig.    182.      This    may   be 


Fig.  181. 


Fig.  1 82. 


termed  a  basket  pattern  and  is  formed  of  inter- 
lacing straps.  This  pattern  is  an  exceedingly 
good  one  for  exercise,  as  it  is  composed  of  short 
lines  and  requires  careful  work  to  prevent  over- 
lapping, which  would  spoil  the  work.  In  starting 
and  ending  a  line,  endeavor  to  have  the  line 
clear  and  distinct  and  of  an  even  thickness  as 
shown  in  the  example.  Lines  must  not  be  left 
short,  but  must  join  the  cross  lines  as  though 
they  were  under  them.  To  draw  a  panel  of 
interlacing  strap  work,  as  shown  in  example, 
without  a  flaw,  is  fairly  good  workmanship. 


ARCHITECTURAL    DRAWING   SELF   TAUGHT 


171 


The  example  shown  at  Fig.  183  is  a  little  more 
difficult  to  plot  out  than  either  of  the  previous 
ones,    and    the   student    will    have   to    use   his 


[a^ 


g^(^ 


Fig.  183. 


Fig.  184. 


compasses  and  set  squares  and  exercise  consid- 
erable judgment.  This  example  is  a  strapwork 
fret,  and  is  a  good  one  to  follow  for  practice. 

Fig.  184  is  a  modifica- 
tion of  the  same  orna- 
ment, a  quarter  circle  be- 
ing used  on  all  external 
angles  instead  of  having 
the  lines  join  with  a  right 
angle.  In  other  words,  the  ornament  is  a  com- 
bination of  curves  and  straight  lines. 

Copy  these  examples  four  or  five  times  and 
you  will  be  astonished  at  your  own  expertness. 

For  practice  I  offer  a  few  simple  examples  of 
frets;  the  first  three  figures,  185,  186,  and  187,  are 


Fig.  185. 


172 


ARCHITECTURAL    DRAWING    SELF  TAUGHT 


Fig.  i86. 


purely  Greek  examples,  the  first  being  the 
simplest  form  of  running  Greek  fret.  Its  con- 
struction is  very  simple  and  easy,  and  may  be 

reproduced  with  a 
T  and  set  squares 
alone.  Fig.  185  is 
constructed  nearly 
in  the  same  man- 
ner, there  being 
two  more  angles 
in  the  latter  than  the  former.  The  next  fret  is 
a  little  more  difficult  to  lay  off,  but  I  appre- 
hend the  student  will  have  no  great  difficulty  in 
producing  Fig.  186. 

Another  style  of  fret,  partaking  somewhat  of 
the  arabesque,  is 
shown  at  Fig. 
1S7.  This  can  be 
repeated  or  con- 
tinued at  will. 
After  drawing  W 
one  complete 
figure,  its  combi- 


Fig.  187 


nation  will  prove  quite  easy,  though  some  little 
trouble  and  care  will  be  experienced  in  forming 
the  first  complete  figure  as  shown. 

At   Fig.    188   a  very  different   kind   of   fret  is 


ARCHITECTURAL    DRAWING   SELF  TAUGHT 


178 


€ e 


1 


shown.  This  is  composed  of  different  figures,  as 
e  e  forms  a  complete  square,  a  number  of  which 
are  set  off  at  regular  intervals,  then  arrange  so 
that   the    points   a 

0  d  will  be  covered, 
by  the  points  b  o  c, 
and  continue  the 
fret  to  the  required 
length. 

In    working    or- 
naments      having 

curved  lines  in  them,  many  examples  can  be  pre- 
sented, but  I  do  not  intend  to  illustrate  more  than 

1  think  will  be  necessary  to  enable  the  student 


ffiuf 


^ 


u 


Fig.  j88. 


"■  n.   n 


/■/ 


.--' '.   r 


( <     >■/ 


J 


Fig.  I 


to  fairly  understand  the  principles  on  which  the 
ornamentation  is  based.  The  diagram  shown  in 
Fig.  189  will  suggest  to  the  draftsman  something 
of  the  method  in  which  combination  of  circles 


174  ARCHITECTURAL    DRAWING    SELF  TAUGHT 

may  be  used  for  ornamental  purposes.  Here  a 
diagonal  square,  c  d  f  g,  is  first  formed,  one  side 
of  which   is  equal  to  the  distance  between  the 

centers  of  the  circles,  as  a,  b,  c,  d. 

The  radii  of  the  circles  described 
^i,.     from   the  points  d  c  g  f  is  equal  to 

half   the  side,    as    d    m,    f  n,   etc. 

^ .^.^  Exemplifications  of  this  figure  are 

I  often   found  in  Gothic   perforated 

parapets  and  similar  work. 

Another     class     of    drawing    is 

shown  in  Fig.  190,  where  parts  of 

circles  and  straight  lines  are  used 

in  order  to    form    the    ornament. 

In  order  to  make  this,  proceed  as 
follows:  Draw  the  base  line  b  first,  then  make 
a  b  at  right  angles  to  the  first  line.  The  respec- 
tive depths  of  the  moulding  must  then  be  meas- 
ured off  on  this  line,  as  d,  h,  m,  o,  and  r,  z,  t, 
show  the  center  line  of  the  torus  s,  and  e  f,  and 
u  V  show  the  centers  of  the  ogees,  and  g  n,  the 
quarter  round.  Here  in  this  example  we  have 
most  of  the  mouldings  in  use  in  architecture — 
the  ogee,  or  cyma  recta,  and  the  reverse  ogee,  or 
cyma  reverse,  the  torus,  the  astragal,  the  quar- 
ter-round, and  the  fillet. 

Fig.  191  shows  a  design  for  a  baluster  that  can 


Fig.  190. 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


175 


readily  be  drawn  by  the  student,  as  the  centers 
for  the  various  curves  are  given.  The  center 
of  the  lower  curve  is  at  a;  centers  for  the  upper 
curves  may  be  found  by  drawing  a  line  c  b;  from 
a  and  b  describe  arcs  cutting  in  d,  with  radius  d 


- w 


^-i 


•i'.<* 


d~M.l.^ A/. 


a. 


Fig.  191. 


Fig.   192. 


a  describe  an  arc  cutting  the  line  c  d  in  c;  c  in 
the  center  of  the  curve  which  is  continued  to  the 
dotted  line  c  b;  a  straight  line  is  then  continued 
to  the  neck  of  the  baluster.  The  other  curves 
and  lines  are  readily  obtained. 

The  urn-shaped  ornament  shown  in  Fig.  192  is 
somewhat  more  complicated  than  the  previous 


ITS  ARCHITECTURAL   DRAWING   SELF  TAUGHT 


PLATE  II. 

Plate  II  shows  four  doors  of  the  style  to  be 
used  In  the  cottage.  These  doors  are  drawn  to 
a  scale  of  one-half  inch  to  the  foot.  The  same 
character  prevails  in  these  four  examples,  the 
sliding  doors  being  merely  one  of  the  second 
floor  doors.  The  front  doors  are  chamfered 
around  the  panels  instead  of  being  moulded,  as 
the  others  are.  The  front  and  rear  door  maybe 
fitted  with  glass  if  so  desired,  in  the  second 
panel  from  top. 


INSERT  FOLDOUT  HERE 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


177 


Fig.  19] 


example.  It  is  suited  to  many  purposes,  par- 
ticularly that  of  terminal.  To  form  it  we  first 
draw  a  center  line  b  h,  then  the  base  a  b,  c  c, 
the  fillet  d,  and  the 
curv-ed  lines  f  f,  g 
g;  f  f  and  e  e  are 
the  centers  of  the 
circles;  join  g  h; 
bisect  it  by  the  line 

i  i,  cutting  g  g  in  k  k;  from  k,  with  the  radius  k 
h,  describe  arcs  g  h,  and  the  line  n  n,  the  centers 
of  the  cap  moulding  are  found. 

The  last  three  examples  are  of  a  purely 
practical  kind,  and  their  determination  suggests 
many  other  forms  which  will  doubtless  appeal 
to  the  student's  imagination. 

The  ornament  shown  at  Fig;.  193  is  called  a 
Guilloche,  or  chain,  and  is  formed  by  concentric 

circles  overlapping 
each  other.  This 
pattern  is  easily 
drawn  with  com- 
passes, but  is  here 
given  as  a  freehand 
study,  in  order  to  give  the  student  an  exercise 
in  severity  and  accuracy  of  form. 

Figs.  194  and  195  are  studies  of  the  wave-line. 


Fig.  194. 


178 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


They  are,  in  fact,  the  cyma  recta   repeated,  the 
depth  being  lessened  in  Fig.  195.  \ 

Fig.  196  is  a  study  of  the  elementary  Hnes  of 
a  running  scroll,  formed  of  the  wave-line,  with  the 

addition  of  spirals. 
Care  must  be  taken 
in  drawing  these  spi- 
rals, so  that  they 
may  proceed  from 
the  stem  in  a  smooth 
and  continuous  manner.  They  should  start  as  a 
continuation  of  the  wave-line  so  gradually,  that 


Fig.  195. 


^ 


Fig.  196. 

if  the  stem,  beyond  the  spiral  were  removed  the 
scroll  would  be  perfect,  and  that  if  the  scroll  were 


Fig.  197. 

taken  away  the  wave-line  would  remain  unin- 
jured. This  should  also  be  the  case  in  Fig.  197, 
in  which  tendrils  are  added  to  the  scrolls 


ARCHITECTURAL    DRAWING   SELF   TAUGHT 


179 


Fig.  19S  is  a  further  elaboration  of  the  same 
design,  the  Hnes  being  doubled. 

Fig,  199  is  another  simple  running  pattern 
based  on  the  wave-line. 

The  example  shown   at  Fig.  200  is  an  orna- 


Fig.  198. 

mental  moulding  adapted  for  wood-carving,  and 
gives  the  pattern  and  half  the  repeat. 

Having  drawn  the  upper  and  lower  horizontal 
lines,  draw  A  B,  C  D,  E  F,  and  G  H;  the 
distance  between   them   being  equal.      Then   it 


Fig.  199. 

will  be  seen  that  C  D  and  G  H  are  the  center 
lines  of  the  heart,  and  that  A  B  and  E  F  are  the 
center  lines  of  the  tongue  or  leaf  between  the 
hearts.  Now  draw  the  curve  J,  and  balance  it 
by  the  curve  I. 

It  will  of  course  be  understood  that  although 


180 


4.RCHITECTURAL   DRAWING   SELF  TAUGHT 


the  instructions  and  lettering  refer  to  the  com- 
plete figure,  it  is  intended  that  the  corresponding 
lines  in  the  repeat  are  to  be  drawn  at  the  same 
time;  in  fact,  whatever  length  of  the  moulding 
is  to  be  drawn,  these  divisions  or  compartments 
should   be   first   set  out,  and    the  single  curve 


Fig.  zoo. 

drawn  in  each  before  proceeding  any  further. 
On  no  account  should  one  portion  be  completed 
before  the  others  have  been  sketched,  for  as 
each  set  of  curves  is  drawn  the  drawing  becomes 
more  complex,  and  the  difficulty  of  accurate 
balancing  is  increased. 

When  these  curves  have  been  completed,  the 
interior  ones  which  depend  upon,  but  are  not 
parallel  to  them,  are  to  follow.  In  drawing  these 
the  greatest  care  is  necessary  so  that  the  curves 


ARCHITECTURAL   DRAWING   SELF  TAUGHT  181 

may  run  gracefully  downwards,  the  space 
between  the  inner  and  outer  curves  becoming 
gradually  narrower. 

The  center  part  at  C  is  now  to  be  drawn, 
following  the  plan  already  laid  down,  viz.:  to 
draw  first  the  left  and  then  the  right  side  of  the 
figure;  and  after  this  the  leaves  between  the 
hearts  are  to  be  drawn  in  the  same  manner. 

The  pattern  shown  at  Fig.  201  is  for  a  running, 
arranged  so  as  to  repeat;  a  will  therefore  join 
on  to  b,  and  thus  the  design  may  be  continued. 

It  will  be  seen  that  in  order  to  equalize  the 
spaces  so  as  to  carry  out  this  arrangement,  the 
whole  is  divided  into  squares,  and  the  central 
flower  is  placed  on  the  intersection  of  the 
diagonals. 

In  commencing  this  design,  the  general  form 
is  to  be  sketched  of  each  scroll  rising  out  of  the 
previous  one.  At  this  stage  no  notice  should 
be  taken  of  the  husks  or  foliage  c  d,  etc.,  but  the 
scrolls  should  be  sketched  as  if  consisting  of  the 
main  stem  only,  and  the  husks  should  then  be 
drawn  outside  the  original  form. 

Great  care  must  be  exercised  to  insure  the 
smooth,  spiral  character  of  the  curves.  There 
must  be  no  angular  breaks,  but  the  eye  must  be 
carried    onward    towards    the    center   of    each 


|82  ARCHITECTURAL    DRAWING    SELF   TAUGHT 


bo 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


183 


scroll,  and  the  husks  must  appear  as  additions, 
but  not  as  excrescences.  In  order  to  test  the 
correctness  of  the  forms,  turn  the  sketch  upside 
down,  place  it  vertically,  or  in  any  other  direc- 
tion, and  if  the  design  has  been  correctly 
sketched,  the  scrolls  should  be  equally  perfect 
in  whatever  position  they  may  be  viewed.     This 


Fig.    202. 


(K  IK  m  J) 


Fig.  203. 

should  be  repeatedly  done  during  the  progress 
of  the  work,  so  that  any  part  which  may  be  too 
full  or  too  flat  may  be  improved  before  the 
husks,  flowers,  foliage,  or  other  details  are 
added. 

The  ornament  shown  in  Fig.  202  is  called  the 
Echinus,  the  ^^%  and  tongue,  or  ^^%  and  dart 
moulding.  It  is  much  used  by  carvers  for 
borders  and  similar  work. 


184  ARCHITECTURAL    DRAWING   SELF   TAUGHT 

The  moulding  shown  at  Fig.  203  is  the  Greek 
astragal,  chaplet,  or  knuckle-bone  ornament: 
this,  also,  is  quite  a  favorite  moulding  with 
carpenters  and   cabinet-makers,  because  it  can 


Fig.  204. 

be  turned  in  a  lathe  and  then  split  in  two  or 
quartered. 

Fig.  204  shows  the  Greek  conventional  lily 
form.  It  has  a  faint  resemblance  to  the 
Egyptian  lotus,  but  has  a  Grecian  delicacy 
about  it  that  is  absent  in  Egyptian  forms. 

The  ornament  shown  in  Fig.  205  is  the  Greek 


ARCHITECTURAL   DRAWING    SELF   TAUGHT  185- 

A^ithemion.  This  is  a  very  good  example  for 
•practice.  It  can  all  be  drawn  by  the  aid  of 
compasses. 


Fig.  205. 

The  border  shown  at  Fig.  206  is  purely 
Egyptian,  and  is  partly  made  up  of  the  open 
lotus    flower     and    the    bud.     This    is    a    very 


186 


ARCHITECTURAL   DRAWING    SELF  TAUGHT 


common  ornament  for  stenciling,  incised  work 
and  low  relief  carving. 

A  circular   or  rosette  ornament  is   shown  at 
Fig.   207  which   is  formed  of  a  circle   and  four 


Fig.  206. 

lotus  flowers.  This  may  be  drawn  free-hand  or 
by  the  aid  of  compasses.  A  conventional  form 
of  the  lotus,  in  a  more  finished  and  elaborate 

state,  is  shown  in 
Fig.  208.  This  or- 
nament was  much 
in  use  with  the  an- 
cient Egyptians,  and 
was  considered  as 
being  a  sort  of  sa- 
cred emblem  with 
them.  Indeed,  the 
lotus  was  known  by 
Egyptians  as  "the 
sacred  flower." 
The  illustration  shown  at  Fig.  209  is  a  Roman 
border,  and   is  composed  of  curved  and  straight 


Fig.  207. 


ARCHITECTURAL    DRAWING   SELF   TAUGHT 


187 


lines.     This  border  is  found  on  many  of  the  old 
Roman  buildings   now   extant    and   appears   to 


Fig.  208. 

have   been    a   favorite   ornament   with  the  old 
designers. 


F'ig,  209. 

The  ornament  or  rosette  shown  in  Fig.  209^^  is 
a  Roman  one  used  largely  during  the  period  of 


188 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


the  decay  of  art, 
about  the  second 
century  of  our  era 
It  is  quite  elabo- 
rate, but  is  not  by 
any  means  effec- 
tive. The  orna- 
ment shown  in  Fig. 
2IO  is  also  Roman 
but  is  the  product 


Fie    2K-. 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


189 


of  a   better    period    and    offers  some  advanced 
lines  for  the  student's  consideration. 


Fig.  211. 

The  scroll  border  shown  at  Fig.  211  is  of  the 
Byzantine    style  of    architecture,    and   is   quite 


Fig.  212. 

effective  in  its  way  The  rosette  shown  in  Fig. 
212  is  also  of  that  style  and  offers  good  practice 
to  the  student. 

These  latter  examples  are  taken  mostly  from 


190 


ARCHITECTURAL   DRAWING    SELF   TAUGHT 


classic  executed  work,  and  while  they  only 
touch  the  fringe  of  classic  ornament,  they  will, 
to  some  extent,  give  to  the  student  an  idea  of 
the  ornaments  employed  in  the  historical  styles, 
and  thus  enable  him  to  design  his  work  on  these 
lines  with  intelligence. 

GOTHIC    ORNAMENT 

Gothic  style  is  so  much  different  to  the  styles 
that  preceded  it,  that  a  separate  chapter  may 
well  be  devoted  to  it  in  order  that  the  student 


Fig.  213. 

may  have  a  fair  opportunity  of  judging  for  him- 
self the  peculiarities  of  the  style. 

The  first  example  presented  is  a  Gothic 
border,  Fig.  213,  which,  it  will  be  seen,  has  a 
character  of  its  own,  that  is  far  apart  from  other 
ornamentation.  The  main  features  of  this  style 
lie  in  the  fact  that  its  members  all  have  a  vertical 


ARCHITECTURAL    DRAWING    SELF    TAUGHT 


191 


tendency  as  may  be  noticed  in  its  pointed 
arches,  its  sharp  spires,  its  pinnacles,  its  but- 
tresses, its  cluster  columns,  and  its  wonderful 
traceried  windows  and  doors.  Its  chief  elements 
are  window  tracery,  trefoils,  quatrefoils,  cinque- 
foils,  zig-zags,  gargoyles,  fleur-de-lis  and  ball 
flowers.  These, 
along  with  many 
other  examples 
of  ornamentation, 
and  peculiar  lay- 
out of  plan  and 
elevation,  may  be 
said  to  constitute 
the    Gothic    style. 

The  illustration 
shown  at  Fig.  214 
represents  the  tre- 
foil ornament,  as  used  in  windo\vs  and  other 
decoration,  and  is  formed  as  follows:  Draw 
the  equilateral  triangle  as  shown  by  the 
dotted  lines  a  b  c,  then  bisect  it  as  at  c  f  and  a 
e,  cutting  the  line  c  f,  which  gives  the  center  for 
the  surrounding  circles;  a  b  and  c  are  the 
centers  of  the  trefoil  curves. 

The  next  illustration,  Fig.  215,  is  the  quatrefoil 
and  is  described  from  the  corners,  h  m,  f  g,  of  a 


Fig.  214. 


192  ARCHITECTURAL    DRAWING    SELF   TAUGHT 


PLATE  12. 

This  plate  shows  a  portion  of  the  stairs,  com- 
plete and  under  construction.  The  newel  post 
and  balusters  are  plain  and  chamfered.  The 
bottom  step  is  rounded  off  at  the  newel. 


INSERT  FOLDOUT  HERE 


ARCHITECTURAL    DRAWING   SELF  TAUGHT 


198 


Fig.  215. 


square;  a  is  the  center  of  the  surrounding  circles, 
found  by  the  intersection  of  the  diagonals,  a  b, 

c  d,  of  the  square; 
the  curves,  s  s  s  s, 
are  drawn  from 
the  center  a;  while 
those  meeting  in 
1 1 1 1  are  described 
from  the  centers, 
h  m,  f  and  g. 

The  cinquefoil. 
Fig.  216,  is  de- 
scribed from  the 
corners  of  the  pen- 
tagon, a  b,  d  e  f;  by  dividing  e  d  equally  on  the 
point  g,  and  draw- 
ing a  line  from 
a  to  it,  cutting  the 
perpendicular  e  c 
in  h,  the  center  n 
is  the  point  from 
which  the  sur- 
rounding circles 
are  drawn.  The 
other  parts  of  this 
ornament  are 
easily  drawn. 


Fig.   216. 


194 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


Two  more  examples,  and  then  I  have  finished 
in  this  style,  but  these  are  elaborate  and  will, 
doubtless,  try  the  skill  and  patience  of  the  stu- 
dent, but  the  results  will  well  repay  for  the  labor. 


^ 


Fig.  217. 

And  will  open  up  new  and  unexplored  fields  for 
practice,  for  hundreds  of  designs  may  be  formed 
by  aid  of  the  knowledge  gained  in  understanding 
the  examples  herewiil>  presented. 


ARCHITECTURAL    DRAWING    SELF   TAUGHT  195 

The  diagram  sho\vn  at  Fig.  217  exhibits  the 
skeleton  work  for  the  finished  tracery  shown  at 
Fig.  2 1 8.  The  centers  for  all  the  curves  of  one 
third  of  the  work  are  all  shown  by  the  heavy 
black  dots.     By  a  little  study  and  patience  the 


Fig.  Z18. 

Student  will  soon  be  able  to  draw  the  completed 
work,  Fig.  218. 

In   Fig.   219  we  have  another  skeleton  for  a 
still  more  elaborate  piece  of  w^ork.     The  centers 


1«6 


ARCHITECTURAL   DRAWING   SELF   TAUGHT 


are  all  shown  by  black  dots,  and  portions  of  the 
curves  are  also  given.  The  completed  work 
shown  at  Fig.  220  has  a  very  rich  and  ornate 
appearance.      These   two    examples    are    quite 


^"V") 


Fig.  219. 

sufficient  to  give  the  student  a  good  insight  into 
Gothic  tracery  work,  bui  it  must  be  remembered 
that  in  Gothic  work  the  designs  of  this  character 
are  innumerable.     Portions  of  these  designs  are 


ARCHITECTURAL    DRAWING    SELF   TAUGHT  197 

used    in    window    and    door    heads,    and    in    a 
hundred  other  places,  always  with  effect. 

It  will  be  noticed  that   in   these   two  designs 
given,  that  the  trefoil,  or  three  circles,  forms  the 


Fig.  220. 

foundation  of  the  whole  of  the  work.  All  the 
other  ornamentation  seems  to  cluster  around 
the  three  larger  circles;  this  is  the  peculiarity 
of  these   two  examples,  but  it  must  be  borne  in 


198 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


mind  that  the  trefoil  is  not  the  only  basis  around 
which  the  old  Gothic  designers  built  their 
tracery;  but  these  are  sufficient  for  our  purposes. 


SOME    PRACTICAL    EXAMPLES    OF    ORNAMENTATION 

The    studious    draftsman    will    soon    discover 
many  new  worlds   to  conquer  if    he  pays   much 

attention    to  his 

'  work,  and  he  will 

'  '  find  that,  for  or- 

namental   work, 
the  power  of  his 
compasses  is  al- 
^'^- "'•  most      without 

limit.     I  offer  a  few  simple  examples  herewith, 


and  will   follow  them  up  with  others  of  a  more 
complicated  nature. 

The  illustrations  shown  at   Figs.  221   and  222 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


199 


show  the  finished  work,  and  working  diagrams. 
The  method  of  drawing  these  curves  and  orna- 
ments is  quite  apparent,  the  centers  are  all 
given,  and  the  dotted  Hnes  show  the  direction 
of  the  curves.     A  very  Httle  practice  on  these 


Fig.  223. 

examples  will  enable  the  draftsman  to  describe 
them  in  quick  time,  and  will  give  him  an  insight 
into  the  methods  employed  in  designing  orna- 
ments of  this  kind. 

Another    very   simple   design,    and   one   that 
requires   but    little   description  on   the    manner 


200 


ARCHITECTURAL    DRAWING   SELF  TAUGHT 


of  making  it,  is  self-evident,  and  is  shown  at  Fig. 
r!23.  This  is  a  very  effective  ornament,  and  at 
cne  time  was  much  in  vogue. 

The  ornament  shown  at  Fig.  224  is  drawn 
right  and  left,  one-half  being  complete,  and  the 
other  half  exhibiting   the  various  centers  from 


Fig.  224. 


which  the  curves  of  the  pattern  are  drawn.  The 
method  of  forming  scrolls  has  been  described  in 
a  previous  chapter,  so  that  it  is  unnecessary  to 
repeat  at  this  stage.  The  design  is  simple,  the 
centers  being  all  given  and  the  dotted  lines 
show  the  radii  of  the  curves. 


ARCHITECTURAL    DRAWING    SELF    TAUGHT 


201 


The  design  shown  at  Fig.  225  is  taken  from 
an  old  example  of  panel  work  and  has  rather  a 
quaint  look.  The  draftsman  will  have  no  great 
difficulty  in  lining  out  this  design. 

The  ornament  shown  at  Fig.  226  is  intended 
for  a  double  barge-board,  having  a  belt  running 

along  the  center,  di- 
viding the  upper  from 
the  lower  portion. 
This  design  is  some- 
what  complicated, 
and  I  therefore  give 
herewith  a  full  de- 
scription of  the  meth- 
od of  describing  it. 
To  properly  divide 
the  diameter  a,  b,  of 
the  circle  a  b,  c,  d, 
into  six  equal  parts,  through  the  third  of  these, 
drawing  the  line  c,  d,  e,  f,  g,  at  right 
angles  to  a,  b.  From  3,  with  distance  equal  to 
one  of  the  parts  on  a,  b,  set  off  the  line  a,  c,  to 
the  points  6  and  7,  and  through  the  points,  2,  4, 
6,  and  7,  draw  lines,  forming  a  square.  Then 
from  the  point  3  as  a  center,  with  35  or  31  as 
radius,  describe  the  circle  hi,  isd.  Then  with 
half  the  distance  5b,  nia,  and  upon  the  lines  6 


Fig.  225. 


802  ARCHITECTURAL   DRAWING   SELF  TAUGHT 


Fig.  aa6. 


ARCHITECTURAL    DRAWING    SELF   TAUGHT 


203 


and  7,  produced  to  right  and  left,  describe  from 
the  centers  j,  k,  89,  the  arcs  of  circles  which  will 
join  the  parts  of  circle,  i5,  hi,  as  5I,  Im,  hn,  50, 
with  the  sides  2  and  4  of  the  square.  The  small 
circles   as   j,   k,   89,  give  the  standard    for   the 


Fig.  227. 

various  centers  and  center  lines,  the  moulded 
part  d,  being  drawn  to  depth  as  shown.  Set  off 
from  the  d  the  distance  of  the  diameter  of  small 
circles  as  k,  from  the  point  d,  nine  and  a  half 
times  to  the  point  f,  which  terminates  the  design. 
The  line  p,  q  is  drawn  at  right  angles  to  g  f, 
through  the  first  part,  r,  s,  through  the  third  and 
the  line  t,  u,  through    a  point  midway  between 


204  ARCHITECTURAL    DRAWING    SELF   TAUGHT 

the  sixth  and  seventh  points.  All  the  circles 
and  arcs  of  circles  are  either  equal  to  parts  or 
multiples  of  the  standard  circle  as  k,  or  f,  any 
one  of  the  six  divisions  on  the  line  a,  b. 

The  design  shown  at  Fig.  227  is  also  a  pattern 
for  a  verge  board,  and  is  a  very  good  example 
of  the  kind.  The  centers  for  the  circles  are  all 
shown  in  the  working  diagram,  the  cutting  lines 
all  being  represented  by  the  dotted  lines.  I 
purposely  leave  this  without  a  further  descrip- 
tion so  that  the  draftsman  may  exercise  his  own 
skill  in  working  it  out,  not  a  very  difiicult  matter 
when  the  reference  letters  are  given. 

The  drawing  shown  at  Fig.  228  is  a  design  for 
a  balcony  panel,  showing  frame  and  drop  mould- 
ings. Suppose  a,  b,  to  be  the  total  height;  then 
divide  it  into  seven  equal  parts  and  through  the 
fourth  of  the  points  draw  a  line  c,  d  at  right 
angles  to  a,  b.  Make  the  facia  at  top  equal  to 
the  distance  between  the  sixth  and  seventh 
points.  From  the  line  d,  set  off  to  e,  and  f,  and 
make  f,  g;  e,  h,  each  equal  to  two-thirds  of  one 
of  the  parts  on  a,  b,  as  7,  8.  Through  the  point 
2,  draw  a  line  parallel  to  c,  d,  through  e,  f ;  g, 
h,  draw  lines  parallel  to  a,  b.  Make  b,  j,  equal 
to  c,  f,  and  through  j,  draw  a  line  parallel  to  c, 
d,  joining  f,  e.     Bisect  2,  j,  in  the  point  k,  and 


ARCHITECTURAL    DRAWING   SELF  TAUGHT 


t05 


through  k,  draw  m,  k,  1,  parallel  to  c,  d.     With 
one-fourth  of  the  distance  of  g,  h,  or  e,  f,  set  off 


Fig.    2  28. 

from  the  points  j,  k,  o,  and  m,  on  each  side  of 
the  center  lines,  as  to  o,  and  n.  from  2.  and  i. 


206  ARCHITECTURAL    DRAWING    SELF   TAUGHT 

From  these  points  as  centers,  as  o,  and  n,  with 
radii  equal  to  o,  i,  describe  arcs  cutting  as  at  p, 
and  from  p,  describe  an  arc  joining  o,  n.  Do  the 
same  at  all  the  other  points,  and  describe  the 
double  arcs.  Divide  one  of  the  parts  into  which 
a,  b,  is  divided,- as  the  lowest  part  b,  I,  into  four 
equal  parts,  as  in  the  points  of  r,  and  s.  With 
two  of  these  as  radius,  from  the  point  k,  in 
center  describe  the  circle  k,  t,  u,  and  put  in  the 
ornament  with  the  arcs  as  shown.  Through  the 
points  I,  s,  2,  and  q,  as  the  line  a,  b,  draw  lines 
with  distance  q  b  set  off  from  q  to  v,  and  from 
V  draw  a  line  parallel  to  a  b,  parallel  to  m,  k,  1. 
With  r,  s,  as  radius,  from  v,  as'  center  describe 
the  arc  v,  x.  With  half  the  distance  q,  v,  set  off 
from  X,  to  y,  and  through  y,  draw  a  line  parallel 
to  v,  w,  as  y,  z;  the  point  z,  is  the  center  of  the 
arc  y,  a.  The  arc  from  a,  is  described  with 
radius  x,  y,  and  through  the  center  a  line  to  b,  is 
drawn  parallel  to  w,  v.  The  arc  c,  is  described 
from  the  point  d.  The  dotted  lines  and  radii 
show  how  the  other  parts  are  put  in.  The 
ornaments  at  f,  are  put  in  the  lines  drawn  from 
the  center  k,  to  the  corner  points,  as  at  e. 

These  examples  make  splendid  practice  for 
the  young  student,  and  if  repeated  two  or  three 
times,   they   will   become  so  impressed  on   the 


ARCHITECTURAL   DRAWING   SELF  TAUGHT  207 

mind  that  they  may  be  produced  at  will  without 
copy,  and  enable  one  to  form  designs,  with  the 
aid  of  rule  and  compass,  to  suit  almost  any 
situation.  All  these  examples  are  formed  in 
exact  architectural  proportions,  a  matter  that  is 
often  lost  sight  of  by  the  draftsman,  who  is 
sometimes  astonished  at  his  own  uncouth 
creations,  which  become  as  offensive  to  the 
trained  eye  as  vulgar  language  does  to  the 
cultivated  ear.  In  the  formation  of  ornaments^ 
like  everything  else  in  this  world,  there  is  an 
"eternal  fitness,"  a  fact  which  should  never  be 
lost  sigbt  of. 

The  design  shown  at  Fig.  229  is  a  very  useful 
one  and  will  answer  very  nicely  for  a  drop  or  an 
eaves  board.  Suppose  a,  b,  to  be  the  height  of 
the  lower  part  of  the  design  which  is  divided 
into  thirteen  equal  parts.  Then,  through  the 
second,  sixth,  seventh,  and  eleventh  of  these, 
draw  lines  at  right  angles  to  a  b.  From  point  I, 
with  half  the  distance  of  the  space  between 
points  I  and  2,  as  radius,  describe  the  circle  d. 
From  the  point  2,  draw  lines  at  an  angle  of  45° 
to  the  line  c  f,  cutting  the  semicircle;  these 
joints,  as  g  and  h,  give  the  centers  of  the  semi- 
circles. From  one  center  of  the  circle  described 
j&etween  the  points  3  and  4  draw  lines  at  right 


208  ABCHITECTUEAL   DRAWING   SELF  TAUGHT 


PLATE  13. 

Plate  13  shows  a  mantel  in  elevation  and 
section,  also  a  plan  of  the  shelf,  with  construc- 
tion lines.  This  is  drawn  to  a  scale  of  ^  of  an 
inch  to  the  foot. 


INSERT  FOLDOUT  HERE 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


209 


Fig.  229. 


210  ARCHITECTURAL    DRAWING    SELF   TAUGHT 

angles  to  the  line  e,  f,  to  i  and  j.  These  are  the 
centers  of  the  parts  of  circles  thus  shown. 
Finishing  the  circle  at  the  point  k  draw  the  line 
k,  1,  parallel  to  a  b;  on  this  line  the  center  m,  of 
the  arcs  n  and  o,  is  found.  6  and  p  are  the 
centers  of  the  arcs  q  and  r.  The  remaining 
portions  of  the  design  may  readily  be  put  in 
from  the  lines,  curves  and  centers  given. 

The  example  shown  at  Fig.  230  illustrates  an 
elaborate  design  suited  for  a  balustrade  and 
many  other  purposes.  Let  a  b  be  the  height; 
divide  this  into  two  equal  parts  in  the  point  c, 
through  c,  draw  a  line  at  right  angles  to  a  b,  as 
d  c  d.  Draw  the  distance  a  b,  into  eighteen,  or 
a  c,  into  nine  equal  parts.  With  one  of  these, 
from  the  center  c,  describe  the  circle  e,  f,  g, 
h,  and  from  the  point  where  this  cuts  the  line, 
a  b;  d,  d,  describe  circles,  the  radius  of  which 
is  one-fourth  of  one  of  the  parts,  or  a,  c.  Then 
with  the  distance  as  h,  g,  from  these  points  as 
centers,  describe  arcs  cutting  in  the  point  i; 
from  i,  as  a  center  with  e,  the  same  radius  still 
kept  on  the  compasses,  describe  an  arc  j.  Do 
the  same  from  the  other  points,  as  g.  f;  f.  e;  e, 
h,  and  thus  find  the  centers  from  which  the  arcs 
corresponding  to  j,  are  described.  From  the 
points  k,  1,  where  the  outside  of  the  small  circles 


ARCHITECTUR-\L    DR-^\VING   SELF   TAUGHT  2]  I 


Fig.  230. 


212     ARCHITECTURAL  DRAWING  SELF  TAUGHT 

e  and  g,  cut  the  line  d,  d,  as  centers  with  i,  j,  or 
c,  g,  as  radius,  describe  arcs  as  t,  r,  s,  or  u,  q,  v, 
stopping  at  lines  n,  m;  o,  p,  drawn  through  the 
points  k,  and  1,  parallel  to  a,  h.  Next,  from  i, 
set  off  to  the  point  p,  and  do  the  same  at  the 
other  and  corresponding  points,  thus  finding  the 
four  centers  m,  n,  o,  and  p.  From  these,  with 
e,  c,  d,  or  i,  j,  as  radius,  describe  arcs  which  are 
joined  by  straight  lines  with  the  semicircles  w, 
and  X,  at  the  upper  and  lower  ends  of  the  design. 
To  find  the  centers  of  these  semicircles,  divide 
the  distance  between  the  points  I,  and  2,  on  the 
line  a  b,  into  four  equal  parts,  and  at  the  points 
draw  a  line  z,  z;  from  the  point  y  set  off  in  the 
line  z  z,  a  distance  equal  to  b  g,  to  the  points  a 
and  b.  From  these  points  a  and  b  with  a  radius 
equal  to  y,  I,  or  y,  2,  describe  semicircles,  as  w, 
c;  X,  c.  Join  the  points  w,  and  x,  by  straight 
lines  e,  e,  with  the  arcs  described  from  the  points 
p,  and  n.  From  a  point  in  the  center  between 
b,  and  c,  and  a,  and  c,  describe  a  small  arc,  and 
join  this  with  another  arc  with  the  points,  as  d, 
d;  the  center  of  the  arcs  being  at  c,  c.  The 
lower  arc,  d,  f,  is  described  from  the  center  g, 
which  is  on  a  line  drawn  through  a  point  the 
third  in  the  distance  b,  I,  on  the  line  b  a.  To 
describe  the  part  marked  A,  cut  out  the  part  B, 


ARCHITECTURAL    DRAWING   SELF   TAUGHT 


213 


B.  From  the  point  m,  o,  and  n,  and  p,  describe 
small  circles,  the  radius  being  one-fourth  part 
of  one  of  the  parts  on  a  b.  With  a  radius  equal 
to  half  of  one  of  the  parts  as  I  2,  on  the  line  a  b, 
describe  circles  from  the  point  f,  f ;  k,  k,  having  a 


Fig   231. 

space  between  them  equal  to  the  space  at  c,  as 
1,  1,  and  with  a  radius  equal  to  the  diameter  of 
these  circles,  describe  from  the  points  1,  1,  the 
arcs  m,  n;  m.  n.  From  n,  n,  which  are  equidistant 
from  the  center  line,  a  space  equal  to  the  radius 
of  the  small  circles  n,  p;  describe  with  radius  of 
these  small  circles  the  arcs  meeting  in  the  pomt 


214  ARCHITECTURAL    DRAWING   SELF   TAUGHT 

o.  With  vv,  V,  or  s,  t,  as  radius,  set  off  on  the  Hne 
h,  h;  from  the  points  1,  1,  to  h,  h,  and  from  h,  h, 
describe  the  arcs  1,  p,  1,  p,  the  centers  of  the 
arcs  p,  p,  are  q,  q. 

These  examples  are  quite  sufficient  for  our 
purpose  so  far  as  woodwork  and  decoration  are 
concerned,  but  it  may  not  be  amiss  to  supple- 
ment them  with  a  few  on  the  same  line,  that  will 
answer  for  iron,  for  wood,  or  for  designs  in 
stencilling  or  other  decorative  work.  To  this 
end,  I  present  an  ornament  in  Fig.  231,  that  is 
suitable  for  a  central  ornament,  and  one  that 
may  be  employed  for  many  purposes.  Carvers 
frequently  make  use  of  this  as  a  skeleton  figure 
for  carved  panel  work  as  it  may  be  elaborated 
to  almost  any  extent.  The  manner  of  drawing 
it  is  as  follows:  Let,  a  a,  be  the  center  line,  and 
a,  b,  the  distance  from  upper  rail  to  center  of 
lower  part  of  design;  through  b,  draw  the  line  c, 
d,  at  right  angles  to  a,  b;  c,  d,  in  the  length  of  the 
lower  part  of  the  design.  Divide  c,  b,  b,  d,  into 
two  equal  parts  in  the  points  e,  and  f,  with 
radius  e,  c,  describe  an  arc  cutting  in  the  point  i; 
from  i,  with  i,  a,  describe  the  arc  b,  a,  h.  P>om 
the  point  b,  set  off  the  distance  e,  f,  to  the  point 
j;  and  through  j,  draw  a  line  k,  k,  parallel  to  c, 
d.     From  j,  with  the  distance  b,  f,  set  off  to  the 


ARCHITECTURAL   DRAWING   SELF  TAUGHT  213 

points  1,  and  m,  and  these  will  be  the  centers  of 
arcs  forming  the  upper  part  of  the  design.  The 
lines  and  centers  for  the  spiral  terminations  of 


Fig.  232. 

the  leading  curves  thus  described  as  shown  in 
the  drawing. 

The  skeleton  shown  in  the  illustration,  Fig. 
232,  exhibits  an  ornament  drawn  altogether  with 
the  compass.  The  centers  are  all  shown  and 
lettered   for    reference;    r    being    the    general 


216 


ARCHITECTURAL   DRAWING  SELF  TAUGHT 


♦--;-■  H> — 


center,  while  a, 
j,  d,  i,  m  and  c 
show  the  divis- 
ions and  radia- 
ting Hnes  of  one- 
half  of  the  fig- 
ure. As  the  cen- 
ters may  all  be 
framed  at  the 
intersections  of 
the  dotted  lines, 
further  explan- 
ations are  un- 
necessary. 

I  close  this 
department  by 
illustrating  a  n 
ornament  in 
which  the  ellipse 
predominates, 
Fig.  233,  which 
exhibits  a  run- 
ning scroll  suit- 
ed to  many  pur- 
poses. On  the 
continent  of  Eu- 
rope   scrolls    of 


ARCHITECTURAL   DRAWING   SELF  TAUGHT  217 

this  kind  are  often  used  as  window  screens, 
being  attached  to  the  frame  and  covered 
with  gauze,  or  woven  wire,  to  prevent  insects 
getting  in  the  house  w^hen  the  window  is  open. 
This  shows  oiily  half  the  design.  The  height 
of  this  section,  a,  b,  is  divided  into  nine 
equal  parts,  the  width  of  the  framework  is 
equal  to  one  of  these  parts-.  From  c,  at  right 
angles  to  c,  d,  draw  the  line  c,  f,  and  with  the 
distance  a,  b,  from  the  point  c,  set  off  to  the 
points  e  and  f,  and  through  these  points^  draw 
lines  at  right  angles  to  c,  f;  f,  g,  is  the  center 
line  of  the  design.  From  the  point  f,  with  four 
of  the  parts  on  the  line  a,  b,  set  off  to  the  point 
h,  and  through  h,  draw  at  right  angles  to  f,  g, 
the  line  i,  i.  From  the  point  h,  set  off  to  i,  i,  five 
of  the  parts  in  a,  b,  making  i,  i,  equal  to  ten  of 
these  parts;  divide  i,  i,  into  five  equal  parts;  the 
first  j,  and  fourth  k,  are  the  foci  of  the  elliptical 
ornament,  which  draw  as  shown.  Through  the 
point  4  on  a,  b,  draw  a  line  41,  and  make  the 
distance  m,  1,  equal  to  h,  i;  put  in  the  elliptical 
part  as  shown,  and  finish  as  in  the  diagram,  in 
which  all  the  centers  and  center  lines  are  given. 
Rules  for  describing  the  ellipse  were  given  in 
previous  pages,  that  should  the  student 
experience    any    difficulty    in     describing     the 


218 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


elliptical  cur\es,  he  may  refer  to  those  pages  for 
assistance. 

SOMETHING    ON  ORDERS    Cy    ARCHITECTURE 

It  is  not  my  intencion  to  e...dr  deeply  into  a 
description  of  the  orders  of  Architecture  or  to 
give  the  student  a  history  of  their  rise  and 
growth,   or    analyze    their    peculiarities;    it     is 


enough  for  our  purpose,  to  be  able  to  draw 
them,  and  to  give  to  each  order  its  own  pro- 
portion pnd  arrangement.  Before  we  can  do 
this,  however,  it  will  be  necessary  for  us  to  be 
able  to  lay  off  a  section  of  a  column,  showing 


AKCHITECTURAL   DRAWING   SELF  TAUGHT 


219 


the  position  of  flutes  and  fillets  in  plan  and 
elevation.  This  is  brought  out  nicely  in  Fig. 
234,  where  the  dotted  lines  show  the  width  of 
flutes  and  fillets  as  they  will  appear  on  the 
elevation.  Suppose  a  b  Fig.  234  to  be  the 
diameter  of  the  column,  then  bisect  it  in  c;  and 


O  O' 


Fig. 


draw  c  d.  Make  lines  corresponding  to  these, 
and  from  the  point  c,  with  c  b,  describe  the 
semicircle  a  d  b,  representing  half  the  column. 
Bisect  the  quadrant  a  d,  in  the  point  e,  and 
divide  the  arcs  a  e,  e  d,  by  points  g,  f,  h,  m. 
Mark  the  position  of  these  by  radial  lines  from 
c,  as  in  the  example.  Divide  the  part  a  g  into 
eight  equal  parts;  and  with  three  of  these  as- 
radius,  from  the  points  in  the  quadrant,  as  g,  f, 


220 


ARCHITECTURAL    DRAWING   SELF  TAUGHT 


etc.,  describe  semicircles.  Six  parts  will  thus  be 
given  to  each  flute,  and  two  to  each  fillet;  and 
the  column  will  have  twenty-four  flutes. 

To  describe  the  flutes  in  a  Doric  column  with- 
out the  fillets,  proceed  as  follows:  Lay  out  the 
portion  of  column  as  in  the  previous  example^ 
by  dividing  the  quadrant  bee.  Fig.  235,  into  six 


eu 


-"'•'      v'^^^- 

^^ 

N^     /' 

^^m 

"M 

1^1/ 

^^^^P 

^^^ 

•n,---.e  1 
•      •  V 

^^^^ 

^^M 

\% 

^H 

^»i  \ 

Jr    « 

k 

UU/U/Z/A    ^.^ 

Fig.  236. 

equal  parts,  as  e,  m,  n,  etc.,  giving  to  the  entire 
column  twenty-four  flutes  as  before.  Draw 
radial  lines  from  b.  Divide  a  f  into  four  equal 
parts,  and  lay  one  of  these  on  a  b  produced  to  e; 
from  b,  with  b  e,  describe  a  semicircle  as  e  m  n, 
cutting  the  radial  lines.  Bisect,  a  f  in  o,  and 
with  f  o  as  radius,  from  the  points — where  the 
dotted  semicircle  intersects  the  radial  lines — as 


ARCHITECTURAL   DRAWING   SELF   TAUGHT 


221 


centers,  describe  the  arcs  as  in  the  example. 
Another  method  is  shown  in  Fig.  236,  which  is 
formed  as  follows:  Make  the  semicircle  a  d  e 
and  divide  the  quadrant  bad  into  five  equal 
parts,  so  as  to  give  twenty  flutes  to  the  column. 
Produce  a  b  to  f ;  bisect  a  e  in  h,  and  from  e  lay 
off  e  h  to  m;  join  h  m,  and  with  distance  h  e  lay 


off  on  the  radial  line  b  e  to  n.  From  b,  with  b 
n,  describe  the  dotted  semicircle,  f  n  o.  The 
centers  f  the  flutes  are  placed  where  the  radial 
lines  intersect  this  semicircle.  From  n,  with  n 
m,  describe  the  lines  as  shown,  and  finish  the 
section. 

A  section  of  a  column  having  flat  flutes  and 
fillet  is  shown  at  237.  To  describe  this  draw  the 
semicircle  a  d  c,  and  divide  the  quadrant  bad 
into  six  equal  parts,  divide  a  e  into  five  equal 


222 


ARCHITECTURAL  DRAWING  SELF  TAUGHT 


parts.  With  two  of  these  from  the  radial  line 
lay  off  on  each  side,  as  f  h.  With  one  part  lay- 
off from  c  to  m,  and  from  m,  with  b  m,  describe 
a  semicircle  c  d  a;  complete  the  diagram  as 
shown.     This  wiU  give  the  depth  of  the  flutes, 


one;  the  width  four,  and  the  width  of  the  fillets, 
one. 

In  Fig.  238  we  give  a  method  of  describing 
the  cabled  moulding  with  fillets  between.  Divide 
the  semicircle  a  c  d  in  the  same  proportion  as  in 
Fig.  234,  giving  an  equal  number  as  in  that 
example.  From  b,  with  b  e  on  the  compass, 
describe  the  semicircle  c  f  f.  From  the  points 
where  the  radial  lines  intersect  this,  as  centers, 
with  a  e,  describe  the  curves  as  in  the  example. 

I  will  now  endeavor  to  explain  what  arc  known 
as  "The  orders  of  Architecture,"  showing  their 


ARCHITECTCrRAL    DRAWING    SELF   TAUGHT  22-" 

various  members,  their  proportion,  and  the 
manner  of  arrangement. 

"Order,  in  architecture,"  says  an  authority, 
"is  a  system  or  assemblage  of  parts  subject  to 
certain  uniform  established  proportions,  regu- 
lated by  the  office  each  part  has  to  perform. 
An  order  may  be  said  to  be  the  genus,  whereof 
the  species  are  Tuscan,  Doric,  Ionic,  Corinthian 
and  Composite;  and  consists  of  two  essential 
parts;  a  column  and  an  entablature." 

These  again  are  subdivided,  the  first  into 
three  parts,  namely:  the  base,  the  shaft  and  the 
capital;  the  second  also  into  three  parts,  namely: 
the  architrave  or  chief  beam,  C  Fig.  239,  which 
stands  immediately  on  the  column;  the  frieze  B, 
which  lies  on  the  architrave,  and  the  cornice,  A, 
which  is  the  crowning  or  uppermost  member  of 
the  order.  In  the  subdivisions  certain  horizontal 
members  are  used,  which  from  the  curved  form 
of  their  edges  are  called  mouldings,  the  con- 
struction of  which  depends  on  a  certain  knowl- 
edge of  geometry.  This  application  may  be 
seen  in  the  illustration;  thus  a  is  the  ogee,  b,  the 
cornice,  c  the  ovolo,  d  the  cavetto,  which  with 
fillets  compose  the  cornice,  f  f  the  facia. 

The  capital  of  the  column  consists  of  the 
upper  members  or  abacus,  g,  the  ovolo  moulding 


2£4  ARCHITECTURAL  DRAWING   SELF  TAUGHT 


PLATE  14. 

This  plate  shows  an  elevation  for  a  cheap  book- 
case suited  for  the  cottage  under  consideration. 
The  end  elevation  is  also  shown  with  the  face  of 
drawers  laid  off.  The  scheme  for  a  box  stall 
shown  in  the  drawing  is  somewhat  out  of  the 
usual  course,  but  may  be  found  very  convenient 
in  stable  construction. 


INSERT  FOLDOUT  HERE 


ARCHITECTURAL    DRAWING    SELF   TAUGHT       *      225 

c,  the  astragal  i  i,  and  the  neck  h.  The  base 
consists  of  the  torus  k,  and  the  pHnth  1.  The 
character  of  an  order  is  displayed,  not  only  in  its 
columns  but  in  its  general  forms  and  details, 
whereof  the  column  is,  as  it  were,  the  regulator; 
the  expression  being  of  strength,  grace,  elegance, 
lightness,  or  richness.  Though  a  building  be 
without  columns  it  is  nevertheless  said  to  be  of 
an  order,  if  its  details  be  regulated  according  to 
the  method  prescribed  for  such  order. 

In  all  the  orders  a  similar  unit  of  reference  is 
adopted  for  the  construction  of  their  various 
parts.  Thus,  the  lower  diameter  of  the  column 
is  taken  as  the  proportional  measure  of  all  the 
other  parts  and  members,  for  which  It  Is  subdi- 
vided into  sixty  parts,  called  minutes,  or  Into 
two  modules  of  thirty  minutes  each.  Being  pro- 
portional measures,  modules  and  minutes  are 
not  fixed  ones  like  feet  and  Inches,  but  are  vari- 
able as  to  the  actual  dimensions  which  they 
express  —  larger  or  smaller  according  to  the 
actual  size  of  the  diameter  of  the  column.  For 
instance,  if  the  diameter  be  just  five  feet,  a 
minute  being  one-sixtieth,  will  be  exactly  one 
inch.  Therefore,  before  commencing  to  draw 
an  elevation  of  any  one  of  the  orders,  the 
diameter  of  the  column  must  be  determined,  and 


226  ARCHITECTURAL   DRAWING    SELF   TAUGHT 


l<!8 


^ 


T 


Tuscan  Order. 


Fl«.l. 


V- "^— r*-i 


■  nA~~ 


-wi 


^. 


«^-H 


I*- 


^ 


««.«. 


! 

i 
„f — ^ 

1 

! 
I 

»A -H 

! 

! 

j 

! 

I 

ajk 1 

i 
t 

"H — ^1 

I 
i 

i 


i 


Fig.  239. 


ARCHITECTURAL    DRAWING    SELF   TAUGHT  2S7 

from  that  form  a  scale  of  equal  parts,  by  sixty 
divisions,  then  lay  off  the  widths  and  heights  of 
the  different  members  according  to  the  propor- 
tions of  the  required  order  as  marked  on  the 
bod}'  or  on  ihe  sides  of  the  illustrations. 

Fig.  239  presents  an  illustration  of  the  Tuscan 
order,  considered  b}'  architects  as  a  spurious  or 
plain  sort  of  Doric,  and  hardly  entitled  to  remark 
as  a  distinct  order.  E  in  the  frieze  correspond- 
ing to  the  triglyph,  illustrates  still  further  the 
connection  of  the  two  orders;  but  by  many 
architects  this  member  is  not  introduced.  No.  i 
is  an  elevation  of  capital  and  entablature.  No.  2 
of  the  base,  and  No.  3  of  a  detached  capital. 
Our  example  is  constructed  according  to  the 
rules  given  by  \'incent  Scamozzi. 

Examples  of  two  capitals  are  given,  differing- 
merely  in  the  number  of  mouldings  in  the  abacus. 

In  fact,  this  introduction  of  simple  mouldings 
is  about  the  only  variety  allowable  in  the  order. 
Ornament  is  not  admitted,  nor  are  the  pillars 
ever  fluted. 

A  slightly  convex  curvature,  or  entasis,  is 
given  in  execution  to  the  outline  of  the  shaft  of 
a  column,  by  classic  architects,  just  sufficient  to 
counteract  and  correct  its  appearance,  or  fancied 
appearance,  of  curva-ture  in  a  contrary  direction 


■228  ARCHITECTURAL    DRAWING    SELF  TAUGHT 


J        t ..~^iaii~^-^a. 


B  c 


jLI «£. 


m 


I^'J  U    J   ■■   J   J 


^UU'JULTj 


Doric  Order 


n«lL 


Fig.  240. 


ARCHITECTURAL    DRAWING   SELF   TAUGHT  229 

(i.  e.,  concavely),  which  might  else  take  place, 
and  cause  the  middle  of  the  shaft  to  appear 
thinner  than  it  really  is. 

No.  4  represents  the  form  of  a  half  column 
from  the  Pantheon  at  Rome.  In  No.  5  another 
example  of  entasis,  the  lower  third  of  the  shaft 
is  uniformly  cylindrical;  the  two  upper  thirds 
are  divided  into  seven  equal  parts.  On  the 
semicircle  shown  in  the  figure,  is  a  chord  cut  off 
parallel  to  the  diameter,  the  length  of  which  is 
fifty-two  parts  only  one-half  being  shown. 
Divide  the  part  a  b  of  the  circumference 
between  the  diameter  and  chord  into  seven 
equal  parts,  and  draw  parallel  lines  from  each 
division  to  those  of  the  upper  part  of  the 
column,  which  will  give  the  diameter  of  the 
shaft  at  each  division;  by  increasing  the  number 
of  the  divisions,  more  diameters  for  different 
parts  of  the  shaft  may  be  found. 

Fig.  240  exhibits  an  example  of  the  Doric 
order,  from  the  temple  of  Minerva  in  the  island 
of  Egina.  The  dimensions  are  given  in  parts  of 
the  diameter,  as  in  the  preceding  example,  and 
the  same  capital  letters  denote  corresponding 
parts.  No.  i  is  an  elevation  of  the  capital  and 
the  entablature.  No.  2  of  the  base,  and  a  part 
of  the  Podium.     No.  3  shows  the  forms  of  the 


230  ARCHITECTURAL   DRAWING   SELF  TAUGHT 

flutes  at  the  top  of  the  shaft,  and  No.  4  at  the 
base.  No.  5  the  outline  of  the  capital  on  an 
enlarged  scale. 

The  Doric  order  may  be  said  to  be  the 
original  of  the  Greek  orders,  of  which  there  are 
properly  but  three;  the  Doric,  Ionic,  and  Corin- 
thian, which  differ  in  the  proportion  of  their  parts 
and  in  some  of  their  ornaments  and  mouldings. 
Of  the  Doric,  the  mutules  a  a,  the  triglyphs  b  b, 
the  guttae  or  drops  d  d  of  the  entablature,  the 
echinus  f  and  the  annulets  g  g  of  the  capital, 
may  be  considered  characteristic.  With  regard 
to  the  arrangement  of  triglyphs,  one  is  placed 
over  every  column  and  one  or  more  inter- 
mediately over  every  inter-column — a  span 
between  two  columns — at  such  a  distance  from 
each  other  that  the  metopes  c,  or  spaces  between 
the  triglyphs,  are  square. 

In  the  best  Greek  examples  of  the  Doric  order 
there  is  only  a  single  triglyph  over  each  inter- 
column.  One  peculiarity  of  the  Grecian  Doric 
frieze  is,  that  the  end  triglyphs,  instead  of  being 
like  the  others  in  the  same  axis  or  central  line 
as  the  column  beneath,  are  placed  quite  up  to 
the  edge  or  outer  angle  of  the  frieze.  The 
mutules  are  thin,  nlates  or  shallow  blocks 
attacned    to    the    under   side   of    soffit    of    the 


ARCHITECTURAL    DRAWING    SELF   TAUGHT  231 

corona,  over  each  triglyph  and  each  motope, 
with  the  former  of  which  they  correspond  in 
breadth,  and  their  soffits,  or  under  surfaces,  are 
wrought  into  three  rows  of  guttae  or  drops, 
conical  or  otherwise  shaped,  each  row  consisting 
of  six  guttae,  or  the  same  number  as  those 
beneath  each  triglyph.  Though  a  few  excep- 
tions to  the  contrary  exist,  the  shaft  of  the  Doric 
column  was  generally  what  is  technically  called 
fluted.  The  number  of  channels  or  flutes  is 
either  sixteen  or  twenty,  afterwards  increased  in 
the  other  circles  to  twenty-four,  for  they  are 
invariably  of  an  even  number,  capable  of  being: 
divided  by  four,  so  that  there  shall  always  be  a 
center  flute  on  each  side  of  the  column. 

Fig.  241  presents  an  example  of  the  Ionic 
order,  taken  from  the  temple  of  Minerva  Nolias 
at  Athens.  No.  i  is  an  elevation  of  capital  ana 
entablature,  No.  2  the  base,  No.  3  is  a  half  of 
the  plan  of  the  column  at  the  base  and  the  top; 
No.  4  an  elevation  of  the  side  of  the  capital. 
In  the  proportions  of  its  shaft,  which  are  more 
slender,  and  the  addition  of  a  base,  it  differs 
from  the  Doric;  but  the  capital  is  the  indicia! 
mark  of  the  order  by  which  it  is  immediately 
recognized.  It  is  far  more  complex  and  irregular 
than   the    other   orders  of   capitals;    instead  of 


832  ARCHITECTURAL    DRAWING    SELF   TAUGHT 


PLATE  15. 

Plate  15  exhibits  an  odd  piece  of  furniture, 
termed  a  "kitchen  desk."  Twelve  students  can 
sit  around  this  desk  and  work  with  ease.  The 
elevations  show  the  manner  of  finish,  with 
drawers  on  top  of  case  under  the  desk  top,  and 
doors  below,  that  cover  shelves,  intended  for 
books  or  other  similar  materials. 


INSERT  FOLDOUT  HERE 


ARCHITECTUE.U.    DRAWING   SELF   TAUGHT  SSS 

showing  four  equal  sides,  it  exhibits  two  fronts, 
with  spirals  or  volutes  parallel  to  the  architra\/e 
and  narrowed,  baluster  sides  (Xo.  4),  as  they  are 
termed,  beneath  the  architrave. 

When  a  colonnade  was  continued  in  front  and 
along  the  flanks  of  the  building,  this  form  of 
capital  occasioned  an  offensive  irregularity;  for, 
while  all  the  other  columns  on  the  flanks 
showed  the  volutes,  the  end  one  showed  the 
baluster  side.  It  was  necessary  that  the  end 
column  should,  therefore,  have  two  adjoining 
volute  faces,  which  was  effected  by  placing  the 
volute  at  the  angle  diagonally,  so  as  to  attain 
their  two  voluted  surfaces  placed  immediately 
back  to  back.  This  same  diagonal  disposition 
of  the  volutes  is  employed  for  all  capitals  alike, 
in  Roman  and  Italian  examples  of  this  order. 

The  capital  admits  of  great  diversity  of 
character  and  decoration — it  sometimes  is  with- 
out necking,  sometimes  with;  which  may  either 
be  plain  or  decorated,  to  suit  the  entire  design. 
The  capital  may  also  be  modified  in  its  pro- 
portions, first  as  regards  its  general  proportion 
to  the  column;  secondly,  as  regards  the  size  of 
the  volutes  compared  with  the  width  of  the  face. 
In  the  best  Greek  examples  the  volutes  are 
much  bolder  than  in  the  Roman.     The  spirals 


234      ARCHITECTURAL  DRAWING  SELF  TAUGHT 


~  ViMMMmmMMMMMMMm'^MMPM*mmii\^j>f, 


m 


■m^fi~'^'-W. 


\^>m]m£t<M>^Mm^^ML^M 


Fig.  241. 


ARCHITECTUHAL    DRAWING    SELF   TAUGHT  235 

also  of  the  volutes  may  be  either  single  or 
maniold,  and  the  eye  or  center  of  the  spiral 
may  be  made  larger  or  smaller,  flat  or  convex, 
or  curved  as  a  rosette. 

Fig.  242  represents  an  example  of  the  Corin- 
thian order,  from  the  Arch  of  Hadrian,  at 
Athens.  This  order  is  distinguished  from  the 
Ionic,  more  by  its  deep  and  foliated  capital  than 
by  its  porportions — the  columns  of  both  have 
bases  differing  but  little  from  each  other,  and 
their  shafts  are  fluted  in  the  same  manner. 

Although  the  order  itself  is  the  most  delicate 
and  lightest  of  the  three,  the  capital  is  the 
largest,  being  considerably  more  than  a  diameter 
in  height,  varying  in  different  examples  from 
one  to  one  and  a  half  diameter;  upon  the 
average  about  a  diameter  and  a  quarter. 

The  capital  has  two  rows  of  leaves,  eight  in 
each  row,  so  disposed  that  of  the  taller  ones, 
composing  the  upper  row,  one  comes  in  the 
middle,  beneath  each  face  of  the  abacus,  and  the 
lower  leaves  alternate  with  the  upper  ones, 
coming  between  the  stems  of  the  latter;  so  that 
in  the  first  or  lower  tier  of  leaves  there  is  in  the 
middle  of  each  face  a  space  between  two  leaves 
occupied  by  the  stem  of  the  central  face,  above 
them.     Over  these  two  rows  is  a  third  series  of 


236 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


Fig.  Z42. 


ABCHITECTCrRAL,   DRAWING   SELF  TAUGHT  237 

eight  leaves,  turned  so  as  to  support  the  small 
volutes  which,  in  turn,  support  the  angles  of  the 
abacus.  Besides  these  outer  volutes,  which  are 
invariably  turned  diagonall3%  as  in  the  four-faced 
Ionic  capital,  there  are  two  smaller  ones,  termed 
caulicoli,  which  meet  each  other  beneath  a 
flower  on  the  face  of  the  abacus.  The  abacus 
itself  is  not,  properly  speaking,  a  square, 
although  it  ma}'  be  said  to  be  so  in  its  general 
form.  But  instead  of  being  straight,  the  sides 
of  the  abacus  are  concave  in  plan,  being  curved 
outwards  so  as  to  produce  a  sharp  point  at  each 
corner,  which  is  usually  cut  off. 

The  proper  Corinthian  base  differs  from  that 
of  the  usual  Ionic  or  Attic,  in  having  two  smaller 
scotiae,  separated  by  two  astragals;  however, 
both  kinds  are  employed  indiscriminately.  The 
shaft  is  fluted,  in  general,  similarly  to  that  of  the 
Ionic  column,  but  sometimes  the  flutes  are 
cabled,  as  it  is  called;  that  is,  the  channels  are 
hollowed  out  for  only  about  two-thirds  of  the 
upper  part  of  the  shaft  and  the  remainder  cut 
so  that  each  channel  has  the  appearance  of 
being  partly  filled  up  by  a  round  staff  or  a  piece 
of  rope,  hence  the  term  cabling. 

The  cornice  is  very  much  higher  than  in  the 
other  orders,  which  makes  more  projection  also. 


238  ARCHITECTURAL   DRAWING   SELF  TAUGHT 

From  this  greatly  increased  depth  of  cornice, 
it  consists  of  a  great  number  of  mouldings 
beneath  the  corona,  for  that  and  the  cymatium 
over  it  invariably  retain  their  places  as  crowning 
members  of  the  whole  series  of  mouldings.  In 
the  illustration  square  blocks  or  dentels  are 
introduced,  but  often  to  the  dentels  is  added  a 
row  of  modillions  immediately  beneath  and  sup- 
porting the  corona.  These  modillions  are 
ornamental  blocks,  curved  in  their  under  surface 
somewhat  after  the  manner  of  the  letter  S  laid 
on  its  edge,  and  between  them  and  the  dentels, 
also  below  the  latter,  are  other  mouldings, 
sometimes  cut,  at  others  left  plain.  Sometimes 
a  plain,  uncut  dentel  band  is  substituted  for 
dentels;  sometimes,  in  simpler  cornices,  that  is 
omitted  altogether  and  plainer  blocks  are 
employed  instead  of  modillions;  or  else  both 
dentels  and  modillions  are  omitted.  The  dentel 
is  not  peculiar  to  this  order,  but  is  considered  as 
more  properly  belonging  to  the  Ionic. 

The  composite  order  is  very  much  akin  to  the 
Corinthian,  and  is  sometimes  called  the  Roman 
Corinthian.  It  is  frequently  formed  with  square 
plintJis  or  pedestals  beneath  the  column.  The 
base  is  nearly  like  those  of  the  Doric  and  Ionic. 
The  shaft  is  channeled  with  twenty-four  flutings 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


2-9ff 


separated  by  fillet?. 
The  capital  consists  of 
two  rows  of  acanthus 
leaves,  eight  in  each 
row;  the  upper  row  be- 
ing placed  over  the 
meeting  points  of  those 
in  the  lower  row.  Four 
spiral  volutes  in  each 
face  spring  from  two 
bunches  of  acanthus 
leaves;  and  two  of  them 
are  so  connected  at  the 
corners  as  to  support 
the  abacus  of  the  cap- 
ital. (See  Fig.  243.) 
Each  face  of  the  aba- 
cus, besides  being 
moulded  into  an  ovolo 
form,  is  a  slight  differ- 
ence between  the  Cor- 
inthian and  Composite. 
The  Corinthian  archi- 
trave is  divided  into 
three  facias,  the  Composite  into  two;  the  facias 
being  in  both  cases  separated  from  another  by 
small  enriched  mouldings. 


Fig.  243. 


240  ARCHITECTURAL   DRAWING   SELF  TAUGHT 


PLATE   i6. 

Plate  i6  shows  sections  and  plans  of  windows, 
for  wood  and  for  brick  buildings,  with  weights 
where  the  mullion  is  narrow  and  will  not  admit 
of  two  weights  passing  each  other.  One  section 
shows  the  manner  of  constructing  the  angle  of 
a  bay  window  where  boxes  and  weights  are 
required.  This  is  a  very  useful  plate  for  the 
young  draftsman. 


INSERT  FOLDOUT  HERE 


ARCHITECTURAL   DRAWING   SELF   TAUGHT  241 

The  frieze  is  enriched  nearly  all  over  with 
sculptures  or  other  ornaments.  The  cornice, 
besides  a  number  of  small  enriched  mouldings 
above  and  below  the  corona,  has  a  row  of  those 
square  blocks  which  obtain  the  name  of  dentils. 
The  Composite  has  mutules  on  the  soffit,  or 
underside  of  the  corona,  like  the  Doric;  but  the 
Corinthian  has  peculiar  ornaments,  called 
modillions.  Between  every  two  modillions, 
along  the  under  side  of  the  corona,  is  an  enriched 
panel. 

If  the  student  has  followed  the  foregoing 
closely,  he  will,  by  this  time,  not  only  be  a  fair 
draftsman,  but  he  will  have  obtained  a  knowl- 
edge of  general  architecture  and  construction 
that  will  make  of  him  a  valuable  and  efficient 
mechanic,  and  one  whose  services  will  be  sought 
after  and  paid  for  at  a  good  rate. 

MISCELLANEOUS 

A  good  draftsman  is  always  supposed  to  be  a 
good  letterer,  and  as  every  drawing  must  have 
a  brief  description  of  some  sort,  and  as  it  is 
sometimes  a  little  puzzling  to  decide  on  what 
style  of  letter  to  employ,  I  thought  I  would 
give  a  few  examples,  so  that  the  draftsman  may 


242  ARCHITECTURAL    DRAWING   SELF  TAUGHT 

have  something  to  aid  him  in  deciding.  Orna- 
mental letters  had  better  be  avoided  until  such 
time  as  the  draftsman  feels  he  can  make  them 
with  ease  and  celerity,  and  plain  lettering  had 
best  be  the  rule;  however,  I  give  a  few  examples 

ABCDEFCHIJKLMNO 
PQRSTUVWXYZ&c 

Fig.  244. 

of  both  plain  and  ornamental,  so  that  the  student 
can  determine  for  himself  the  styles  of  letter  he 
will  employ. 

A  simple  block  letter  is  shown  in  Fig.  244, 
with  one  letter  G  enlarged  at  the  end.  These 
letters,  as  will  be  seen,  may  be  made  in  single 
or    double    line,    as    may    be    desired.      Figures 

1234567890 

Fig.  245. 

appearing  in  the  heading,  Fig,  245,  should  be 
the  same  size  as  the  letters,  but  as  dimensions 
on  the  drawing  they  should  not  be  more  than  }i 
in.  deep,  nor  less  than  j\  in.  When  dimensions 
are  put  upon  a  drawing,  the  distance  to  which 
they  should  extend  should  be  carefully  shown 
by  dotted  lines,  with  arrow-heads  at  the  extremi- 


ARCHITECTURAL    DRAWING   SELF   TAUGHT  243 

ties,  keeping  the  fractions  level,  and  with  the 
small  figures  two-thirds  the  size  of  the  large 
ones.  The  feet  should  be  marked  by  a  single 
accent  thus  ',  and  the  inches  by  a  double  accent 
thus  ",  with  a  full  stop  on  the  line  between  the 
figure.  If  the  dimensions  consist  of  an  even 
number  of  feet,  then  inches  should  be  repre- 
sented by  o".  The  omission  has  led  to  serious 
mistakes  in  practical  work,  which  should  always 
be  guarded  against,  and,  notwithstanding  the 
examples  of  text-books  and  the  practice  of 
some  examiners,  this  is  an  important  point 
always  observed  b}-  practical  draftsmen. 

After  inking  in  all  the  figures,  pencil  out  the 
heading  very  carefully,  making  the  letters  a 
little  thicker  than  those  used  in  Fig.  244;  G,  R, 
S.  C,  and  M  will  be  found  the  most  difficult. 
The  distance  apart  of  the  letters  should  not  be 
quite  uniform,  but  should  be  such  as  will  look 
uniform.  For  example,  as  I  between  M  and  N 
would  require  more  than  the  usual  space  to  look 
right;  on  the  other  hand,  a  T  between  L  and  J 
would  require  to  slightly  overlap  to  give  the 
right  effect.  The  junction  points  A,  IVI,  X,  V, 
and  \V  should  not  be  sharp  but  the  same  width 
as  the  thickness  of  the  strokes. 

Leave  >^  in.  between  the  words  of  the  heading. 


244  ARCHITECTURAL    DRAWING   SELF  TAUGHT 

It  is  thien  much  easier  to  read  than  if  cramped 
closer  together  or  spaced  wider  apart. 
Remember  that  the  printing — being  thicker — 
will  take  longer  to  dry,  and  be  careful  not  to 
use  the  india  rubber  too  soon.  It  will  be 
observed  that  the  guide  lines  for  the  square  and 
center  lines  for  the  circle,  as  described  above, 
have  not  been  inked  in,  as  they  would  spoil  the 

ABCDEFGHIJ 
K  L  M  N  0  PQRST 
UVWXYZ 

Fig.  146. 

effect  of  the  drawing,  but  on  machine  drawings 
it  is  usual  to  put  the  center  lines  in  red,  using  a 
little  crimson  lake  for  the  purpose. 

Another  block  letter  is  shown  at  Fig.  246, 
which  is  easy  to  make  and  quite  effective.  This, 
and  the  three  following  examples,  are  taken 
from  "The  Draftsman,"  an  excellent  little 
journal  for  the  young  draftsman,  as  it  is  full  of 
useful  matter,  and  will  help  him  along  materially. 
The  journal  is  published  monthly,  in  Cleveland, 
Ohio,  and  only  costs  one  dollar  a  year. 


ARCHITECTURAL   DRAWING   SELF   TAUGHT  245 

The  letters  shown  at  Fig.  247  have  some  pre- 
tentions to  ornamentation,  but  on  the  whole  they 
are  very  simple  and  easy  to  make. 

yiBGDEFGjlIJKLMNO 
PPR8TUYWXYZ 
12  3  4  5  6  7  8  9  0 

Fig.  247. 

Fig.  248  exhibits  a  sort  of  Runic  letter  that  ig 
quite  ornamental  and  would  require  considerable 
practice  before  it  could  be  formed  nicely. 

Fig.  248. 

The  letters  shown  at  Fig.  249  are  good  old 
style  characters  and  are  always  in  order  for 
almost  any  kind  of  work. 


24-6  ARCHITECTURAL    DRAWING   SELF   TAUGHT 

The  two  styles  of  open  letters  shown  in  Fig. 
250  may  sometimes  be  found  useful,  but  as  a  rule 
I  do  not  recommend  this  style  of  letter;  it  does 
not  "show  up"  enough  for  the  trouble;  at  the 
same  time,  it  offers  excellent  practice  for  the 
draftsman. 

These  examples  are  quite  sufficient  for  my 
purpose,  but  the  student  will  do  well  to  try  his 

ABCDEFGHI 
JKLMNOPQR 
STUV  WX  YZ 

Fig.  249 

hand  on  other  styles,  many  of  which  he  can  find 
in  public  prints,  headings,  and  other  places. 

While  I  do  not  advise  the  young  student  to 
attempt  the  coloring  of  drawings,  yet,  if  he 
advances  himself  sufficiently  to  be  able  to  make 
a  good  drawing,  there  is  no  reason  why  he 
should  not  attempt  to  color  some  of  his  work, 
and  to  aid  him  in  doing  so  I  submit  for  his 
guidance  the  following  hints  and  suggestions 
regarding  this  work.     The  first  thing  to  do  when 


ARCHITECTURAL    DRAWING   SELF   TAUGHT 


247 


coloring  is  in- 
tended is  to  see 
that  the  paper 
has  all  the  super- 
fluous sizing  re- 
moved by  being 
sponged  lightly 
with  clean  water. 
The  paper,  and 
everything 
about  it,  must 
be  kept  perfect- 
ly clean.  Line 
off  the  spaces, 
with  very  fine 
pencil  marks, 
that  are  to  be 
tinted.  Never 
use  the  eraser 
on  the  part  to 
be  tinted,  either 
before  or  after 
tinting.  Try  the 
tinting  process 
on  a  piece  of 
waste  paper  un- 
til   the     proper 


^ 


n 


IT?' 


1^^ 


=1U 


..^ 


^fi) 


© 


HI 


1  r^S 


(^^ 


^  m^ 


^  (@  ^ 
©  1^  @ 


248  ARCHITECTURAL    DRAWING    SELF   TAUGHT 


PLATE      17. 

This  plate  shows  a  basement  window  in  a 
sione  wall,  the  elevation  showing  the  outside  of 
the  window,  and  the  section  exhibits  the  manner 
of  coastructing  the  frame  and  placing  the  sashes. 
This  is  drawn  to  a  scale  of  ^  of  an  inch  to  the 
foot. 


INSERT  FOLDOUT  HERE 


ABCHITECTURAl.   DRAWING   SELF  TAUGHT  249 

tint  is  obtained,  before  applying  to  the  drawing. 
Dark  tints  are  formed  by  applying  a  number  of 
light  ones  over  each  other,  but  a  second  tint 
should  not  be  applied  until  the  first  one  is 
perfectly  dry.  Always  finish  tinting  one  portion 
of  drawing  before  leaving  it.  Otherwise  it  will 
be  cloudy.  See  that  the  paper  is  damp  before 
•vou  begin  to  tint.  Ink  in  all  lines  after  <^he 
tinting  :s  completed  and  the  drawing  is  perfectly 
dry. 

The  colors  used  for  representing  wood,  iron, 
and  other  materials,  are  as  follows:  For  soft 
pine,  a  very  pale  tint  of  sienna;  for  hard  pine, 
burnt  sienna  with  a  little  carmine  added;  for  oak, 
a  mixture  of  burnt  sienna  and  yellow  ochre  is 
used.  Mahogany  is  represented  by  burnt  sienna 
and  a  portion  of  dragon's  blood.  For  walnut, 
dragon's  blood  and  burnt  umber  are  used.  For 
bricks,  burnt  sienna  and  carmine  make  a  good 
color.  Gray  stones  are  represented  by  a  mixture 
or  Diack  and  white,  with  a  little  Prussian  blue 
and  carmine  added — pale  ink  alone  is  sometimes 
used  for  stone  work.  Brown  freestone  is  rep- 
resented by  burnt  sienna,  carmine,  and  ink 
Wrought  iron  is  represented  by  a  light  tint  ot 
Prussian  blue,  and  cast  iron  by  a  gray  tint  com- 
posed of  black,  white,  and  a  little  indigo.     Brass 


'250  ARCHITECTURAL    DRAWING    SELF   TAUGHT 

is  tinted  with  gamboge.  Gamboge,  slightly 
mixed  with  vermilion,  makes  a  good  color  for 
copper.  Silver  is  represented  by  an  almost 
invisible  blue. 

Many  draftsmen  have  a  natural  talent  for 
using  suitable  colors,  and  putting  them  on  in  a 
suitable  manner,  but  others  must  go  through  the 
drudgery  of  careful  practice  according  to  rule. 
A  perfectly  uniform  tint  such  as  desired  on  an 
engineer's  drawing  is  not  required  on  an 
architect's  drawing,  and  still  less  on  that  for  use 
by  a  builder;  but  unless  the  draftsman  learns 
first  to  lay  on  a  flat  and  uniform  wash  of  any 
tint,  he  is  not  likely  to  be  able  to  put  on  an 
appropriate  rough  tint.  For  water-color  sketch- 
ing a  flat  tile  with  shallow  recesses  is  suitable 
for  mixing  the  colors,  but  this  is  quite  unsuited 
for  a  draftsman's  use.  He  should  invariably  use 
the  nests  of  round  saucers  fitting  one  on  the 
other,  and  of  a  size  to  hold  as  much  color  as 
would  be  required  to  completely  finish  the  color- 
ing of  any  one  material  on  one  sheet.  The 
saucers  should  be  kept  covered  while  in  use, 
and  washed  out  when  done  with.  The  lightest 
tints  should,  as  a  rule,  be  put  on  first,  and  the 
brush  should  always  be  of  ample  size.  Color 
brushes    should    be    kept    scrupulously    clean, 


ARCHITECTURAL   DRAWING   SELF  TAUGHT  251 

never  put  in  the  mouth,  always  washed  after 
using,  the  surplus  moisture  shaken  out,  and  then 
put  away  in  the  box  and  not  laid  on  a  dusty 
shelf  to  dry. 

A  little  practice  in  the  laying  of  colors  one 
over  another  will  be  used  for  impressing  on  the 
memory  the  general  effect  of  combination,  and 
also  a  knowledge  of  the  primary  colors  and 
their  secondaries.  Nearly  all  water-colors  are 
transparent,  and  a  medium  tint  of  any  one  color, 
if  laid  over  another  after  it  is  dry,  will  allow  the 
first  color  to  show  through.  A  more  intimate 
combination  may  be  made  by  mixing  the  colors 
together  in  the  same  palette  and  putting  them 
on  with  the  brush  in  one  operation. 

Wipe  the  brush  lightly  on  the  edge  of  the 
saucer  to  remove  the  surplus  color,  and  hold  it 
as  described  for  a  lead  pencil  when  about  to 
draw  a  vertical  line;  commence  at  the  top  left 
hand  of  the  space  to  be  colored;  pass  the  brush 
downwards,  then  along  the  top,  then  down  by 
short  strokes  from  the  top  to  the  length  of  the 
first  stroke,  and  so  carry  the  color  downwards 
for  the  whole  width,  finishing  at  the  bottom 
right-hand  corner. 

To  produce  good  and  uniform  coloring,  never 
damp  the  paper  before  commencing,    refill  the 


252  ARCHITECTURAL    DRAWING   SELF   TAUGHT 

brush  often,  gently  wiping  it  on  the  edge  of  the 
saucer  each  time.  The  margin  of  the  color  must 
not  dry  before  the  next  stroke  reaches  it,  and  a 
part  once  colored  must  never  be  retouched, 
even  though  it  looks  uneven.  Retouching  is  a 
fruitful  source  of  failure;  for  color,  looking 
uneven  when  wet,  may  dry  even,  but  if  touched 
again  when  partially  dried  it  is  certain  to  show 
uneven  when  dry. 

There  is  an  advantage  in  having  plenty  of 
color  in  the  brush,  but  when  nearing  the  bottom 
boundary  the  amount  must  be  reduced,  so  that 
there  is  not  a  pool  left  at  the  lower  corner.  By 
regulating  the  amount  of  color  any  slight  excess 
may  be  picked  up  with  the  brush  by  simply 
raising  it  slowly,  point  last,  from  the  corner. 
The  brush  should  not  be  wiped  in  any  way,  but 
simply  washed  in  clean  water,  when  done  with, 
or  before  use  with  another  color.  It  will  soon 
be  found  that  with  a  given  amount  of  color  in 
the  brush  more  or  less  of  it  may  be  left  behind 
as  the  brush  is  allowed  to  trail  or  is  used  side- 
ways, and  it  is  by  unconscious  adjustments  of 
this  kind  that  a  good  colorist  produces  uniform 
results. 

There  are  certain  tints  employed  by  architects 
to  designate  works  of  various  kinds,  and  I  give 


ARCHITECTURAL    DRAWING   SELF   TAUGHT  253 

them  herewith  so  that  the  student  may  have 
them  within  reach  if  he  has  occasion  for  their 
use.  It  must  be  understood,  however,  that 
nearly  every  drawing  oflfice  of  any  note  has 
rules  of  its  own  for  marking  and  coloring 
drawings,  so  that  the  rules  given  herewi'th  may 
differ  materially  from  many  others  in  vogue. 

Banks  (Steep) — Shaded  with  graduated  warm 
sepia,  darkest  at  top  of  bank;  vertical  hill- 
shading  in  India  ink  or  dark  sepia. 

Brass — Gamboge  with  yellow  ochre  or  burnt 
sienna. 

Bricks  (Blue) — Elevation,  indigo  and  India 
ink;  section,  indigo.  (Red) — Elevation,  light  red 
(pale);  section,  India  red  (dark). 

Brickwork  (New) — Elevation,  Roman  ochre; 
section,  crimson  lake.  (Old) — Elevation,  India 
ink  (pale);  section,  India  ink  (dark). 

Buildings  (Brick  or  Stone) — Crimson  lake. 
(Wood) — Sepia. 

Cast  Iron — Payne's  grey;  neutral  tint. 

Chain — Elevation,  Prussian  blue  (dot  and 
stroke);    section,  no  color. 

Concrete — Sepia  with  black  marks;  or  indigo, 
or  Payne's  grey  with  black  marks  and  small 
light  spots  left. 

Copper — Gamboge      with      lake;      elevation, 


254  ARCHITECTURAL    DRAWING   SELF  TAUGHT 

crimson  lake  and  burnt  sienna;  section,  crimson 
lake  and  burnt  sienna  (dark). 

Earth — Burnt  umber  or  warm  sepia,  left 
jagged   at  edges;    or  sepia,  light  and   dark. 

Electric-bell  Wires— Yellow. 

Fields  and  Vacant  Lands — White. 

Fir  and  Deal  (rough) — Elevation,  burnt  sienna 
or  gamboge;  section,  burnt  sienna  (edged  round 
and  hatched). 

Footpaths  (Flagged) — Yellow  ochre. 

Glass — Green;  Prussian  blue;  neutral  tint. 

Glass  Roofs  —  Cross-hatching  of  Prussian 
blue. 

Granite — Purple  madder;  pale  India  ink. 

Greenheart — Elevation,  indigo  and  gamboge; 
section,  indigo  and  gamboge  (dark). 

Gun-metal — Elevation,  Indian  yellow;  section, 
Indian  yellow  (dark). 

Lead — Indigo;  indigo  with  India  ink. 

Leather — Elevation,  burnt  umber  (very  pale); 
section,  burnt  umber  (dark). 

Mahogany — Elevation,  light  red  and  burnt 
sienna;  section,  light  red  and  burnt  sienna  (dark.) 

Meadows  and  Cultivated  ^Grass — Prussian 
green;  Hooker's  green. 

Oak — Elevation,  burnt  umber  (pale);  section^ 
burnt  umber  (dark). 


ARCHITECTURAL    DRAWING    SELF   TAUGHT  255 

Pine  and  Spruce  (wrought) — Elevation,  burnt 
sienna  (pale);  section  burnt  sienna  (dark  rings). 

Pipes  (Cold-water) — Prussian  blue.  (Gas) — 
Indigo  with  lake.  (Hot-water) — Crimson  lake. 
(Rain-water) — Elevation,  Prussian  blue  (outline); 
section,  Prussian  blue  (outline).  (Soil) — Eleva- 
tion, burnt  sienna;  section,  burnt  sienna  (out- 
line). 

Plaster — Payne's  grey.  Plaster  and  Cement-- 
Elevation,  India  ink  (pale);  section,  India  ink 
(dark). 

Railways — Neutral  tint  between  the  rails  of 
each  track. 

Rope — Elevation,  burnt  sienna  (dot  and 
stroke);  section,  no  color. 

Rosewood — Burnt  sienna  with  lake. 

Sewers  and  Drains — Prussian  blue. 

Skies  (in  perspectives) — Cobalt  blue. 

Slate — Elevation,  Payne's  grey;  section, 
Payne's  grey  (dark). 

Steel— Elevation,  violet  carmine  (very  pale); 
section,  violet  carmine  (dark);  or  indigo  with  a 
little  lake. 

Stone — Yellow  ochre;  gamboge  with  Indian 
red   and    burnt    umber;    sepia;    Prussian    blue. 

Representing  stone  in  section  by  Prussian  blue 
is    to    be    avoided,    though    in     common     use 


2o(>  ARCHITECTURAL   DRAWING    SELF   lAUGliT 


PLATE    i8. 

This  plate  shows  two  elevations  and  sections 
of  windows,  one  designed  for  wooden  build- 
ings, and  the  other  for  brick  buildings.  The 
vertical  sections  of  frames  and  sashes  are  shown 
in  both  cases,  and  the  manner  of  constructing 
the  sills  is  given.  The  segmental  headed 
window  shows  finish  around  the  frame  suited  for 
brick.  Both  frames  show  exterior  finish,  and 
that  designed  for  wood  shows  the  lines  of 
siding  on  one  side.  These  examples  are  drawn 
to  a  scale  of  ^  of  an  inch  to  the  foot. 


INSERT  FOLDOUT  HERE 


2dt)  ARCHITECTURAL   DRAWINO   SELF   TAUGHT 


ARCHITECTURAL   DRAWING   SELF  TAUGHT  25? 

Prussian  blue  should  be  retained  entirely  for 
wrought-iron  work. 

Stone  Dressings — Elevation,  French  blue, 
(very  pale);    section,   French  blue  (dark). 

Streets  (Paved) — Neutral  tint. 

Timber  (Existing)  —  Elevation,  India  ink 
(pale);    section,   India  ink  (etched). 

Tubes  (Speaking) — Green. 

Water — Elevation,  Prussian  blue  (washed); 
section,  Prussian  blue  (lines).  Water  may  have 
graduated  blue  edges. 

Windows  Inside — Elevation,  French  blue 
(pale);  section.  Hooker's  green,  No.  2  (dark). 

Windows  Outside — Elevation,  Payne's  grey 
(dark);  section,  Hooker's  green.  No.  2  (dark). 

Wrought-iron  (Bright) — Elevation,  Prussian 
blue  (very  pale);  section,  Prussian  blue  (dark). 
(Rough) — Payne's  grey. 

York  and  Soft  Stone — Elevation,  sepia  (very 
pale);  section,  sepia. 

Zinc — Elevation,  French  blue  (very  pale); 
section,  French  blue  (dark). 

Often  various  materials  are  shown  by  the 
manner  in  which  the  sections  of  such  materials 
are  hatched  or  lined  off  as  may  be  seen  by  the 
illustration  shown  at  Fig.  251,  where  a  large 
number  of  sections  are  given.     By  this  method 


!J58 


ARCHITECTURAL   DRAWING   SELF  TAUGHT 


the  material  is  recognized  by  the  method  of 
hatching,  and  no  color  is  required,  the  whole 
being  done  in  black  and  white. 

It  may  be  necessary  sometimes  for  the  drafts- 
man to  shade  portions  of  his  work,  and,  though 
this  book  does  not    pretend   to  deal   with    the 


A.0C^^*»f»it 


t'\g    251. 

higher  class  of  drawing,  it  may  not  be  out  of 
place  to  say  a  few  words  on  shading,  and  offer  a 
few  rough  illustrations,  showing  how  some 
objects  maybe  shaded  even  by  an  inexperienced 
hand.  The  principles  of  shading  are  very 
simple,  but  do  not  seem  to  be  generally  under- 
stood, even  by  architects.  All  the  exhibition 
drawings  of  an  Architectural  Association  were 


ARCHITECTTIRAL  DEAWTNTG   SELF  TAUGHT 


259 


spoilt  one  year  by  the  roof  shading  being 
reversed,  presumably  in  order  to  comply  with 
some  fancied  natural  requirement.  The  prin- 
ciples are  as  follows:  (i)  The  more  distant  the 
object    the    less    distinct   the   light"    and     shade, 


and  vice  versa;  (2)  for  the  sake  of  uniformity 
the  light  is  usually  supposed  to  come  from  the 
left,  and  on  a  drawing  is  generally  taken  as 
coming  down  the  long  side  of  a  45°  set  square, 
when  one  edge  is  placed  diagonally  on  the  paper 
and  at  right  angles  to  it;  (3)  on  inclined  surface 
in  the  light  the  farthest  part  is  the  darkest  and 
in  the  shade  the  nearest  part  is  the  darkest;  (4) 
cylindrical  surfaces  follow  the  same  rules,  but 
on  the  right  hand  or  lower  sides  the  effect 
appears  as  though  some  reflected  light  were 
shown    towards   the   edge.     The  accompanying 


560  ARCHITECTURAL    DRAWING   SELF   TAUGHT 

illustrations,   Fig.   252,   show  the   application   of 
these  rules. 

When  ink  lines  to  any  considerable  extent 
have  to  be  erased,  a  small  piece  of  damped  soft 
sponge  may  be  rubbed  over  them  till  they 
disappear.  As,  however,  this  process  is  apt  to 
-discolor  the  paper,  the  sponge  must  be  passed 
through  clean  water,  and  applied  again  to  take 
up  the  straggling  ink.  For  small  erasures  of  ink 
lines,  a  sharp  erasing  knife  should  be  used;  this 
is  an  instrument  with  a  short  triangular  blade 
fastened  to  a  wooden  or  ivory  handle.  A  sharp 
rounded  pen-blade  applied  lightly  and  rapidly 
-does  well,  and  the  surface  may  be  smoothed 
down  by  the  thumb  nail  or  a  paper-knife  handle. 
In  ordinary  working  drawings  a  line  may  readily 
be  taken  out  by  damping  it  with  a  hair  pencil 
and  quickly  applying  the  india  rubber;  and,  to 
smooth  the  surface  so  roughened,  a  light  applica- 
tion of  the  knife  is  expedient.  In  drawings 
intended  to  be  highly  finished,  particular  pains 
should  be  taken  to  avoid  the  necessity  for 
corrections,  as  everything  of  this  kind  detracts 
from  the  appearance. 

A  little  Prussian  blue,  mixed  with  the  ink 
makes  it  flow  freer  and  adds  to  the  color.  In 
inking  in  on  ordinary  tracing  cloth,  the  student 


ARCHITECTURAL    DRA^aNG    SELF   TAUGHT  261 

will  find  the  ink  will  "creep"  in  such  a  manner 
that  the  lines  will  be  broken.  This  can  be  pre- 
vented if  a  drop  of  ox-gall  be  mixed  with  the 
ink,  but  where  ox-gall  is  not  available,  Prussian 
blue  may  be  substituted,  and  this  will,  to  some 
extent,  work  freer  over  the  cloth. 

As  this  book  is  not  intended  for  making 
finished  draftsmen,  I  have  avoided  in  all  cases — 
except  in  the  orders  of  Architecture — offer- 
ing any  very  elaborate  or  finished  examples, 
as  the  student  can  find  a  number  of  works  in  the 
market  that  will  lead  him  to  a  higher  plane  if  he 
so  determines,  after  he  has  well  mastered  what 
I  have  served  up  to  him.  Neither  have  I 
thought  it  desirable  to  describe  the  method  of 
making  blue  prints,  as  this  method,  or  m.ethods, 
has  been  rendered  over  and  over  again  in  the 
technical  journals,  for  years  past.  If,  however, 
the  student  desires  to  iearn  how  to  make  blue 
prints,  I  would  advise  him  to  purchase  a  copy 
of  "Blue  Print  Making"  by  P.  Reissmann,  which 
can  be  had  from  the  publishers  of  this  book, 
price  25  cents.  This  is  an  excellent  little  work, 
and  goes  into  the  subject  thoroughly. 

It  must  be  understood  that  this  work  is  pre- 
pared purposely  for  the  workman  who  has  no 
time  to  attend  night  school,  or  money  to  spare 


I 


262  ARCHITECTUBAL    DRAWING   SELP^  TAUGHT 

to  take  a  course  in  any  one  of  the  excellent 
correspondence  schools;  therefore,  the  illustra- 
tions have  been  left  in  a  plain  state,  so  that  the 
student  would  not  be  frightened  on  the  threshold 
of  his  work  by  fancy  and  elaborate  drawings.  I 
state  this  fact,  partly  to  make  it  easy  for  the 
student,  and  partly  to  disarm  critics,  who  can,  if 
they  are  so  disposed,  find  many  defects  in  the 
illustrations. 


'BUILDERS'    ARCHITECTURAL     DRAW- 
ING SELF  TAUGHT." 


QUESTIONS. 

1.  What    is    the    first    article    required    by    the 
student  for  drawing  purposes? 

2.  Give  a  description  of  how  the  paper  should 
be  fixed  to  the  drawing  board. 

3.  Give  a  description  of  what  is  meant  by  the 
process  termed  "damp  stretching." 

4.  Mention  the   three  kinds  of  materials  used 
in  making  out  the  drawings. 

263 


264  ARCHITECTURAL  DRAWING  SELF  TAUGHT 

5.  After  having  prepared  a  drawing  board  what 
is  the  next  thing  that  is  required? 

6.  Give  a  description  of  "T  squares,"  "French 
curves"  and  "set  squares"  used  in  drawing. 

7.  Give  descriptions  of  "straight-edges," 
"scales,"  "splines,"  "eJlipsographs,"  and  "beam 
compasses." 

8.  Give  a  description  of  what  is  contained  in 
a  case  of  "complete  set"  of  drawing  instruments. 

9.  Give  a  description  as  to  the  use  and  care  of 
the  drawing  pen. 

10.  Give  a  description  of  how  the  ink  should  be 
applied  to  the  drawing  pen,  and  how  to  manipu- 
late the  pen  when  all  is  ready. 

11.  Give  a  description  of  how  to  use  the  com- 
passes in  drawing  circles. 

12.  Give  a  description  of  how  to  use  the  com- 
passes when  a  number  of  circles  drawn  from  a 
common  center    is  necessary. 

13.  Give  a  few  illustrative  examples  of  curve 
drawing  with  the  compasses. 

14.  Give  a  description  of  how  the  trefoil  orna- 
ment! is  formed,  and  a  drawing  illustrative  of 
same. 

15.  Give  an  illustrative  example  of  how  circles 
may  be  drawn  from  six  centers  or  from  the  six 
points  of  a  hexagon. 

16.  Give  a  description  of  how  to  find  the  cen- 
ters for  a  curved  line  wdiere  the  situation  calls 
for  more  or  less  skill  to  properly  adjust  to  the 
purposes,   with   illustrative    drawing. 


ARCHITECTUR^VL  DRAWING  SELF  TAUGHT  265 

17.  Give  a  description  o*f  how  the  same  result 
may  be  obtained  by  the  use  of  the  compasses 
alone,  with  illustrative  drawing. 

18.  Give  a  description  of  how  to  deal  with  two 
parallel  lines  that  are  to  be  joined  tangentially  by 
a  semi-circle. 

19.  Give  description  and  illustrative  sketch 
how  to  join  by  a  curve,  lines  that  are  not  at  right 
angles. 

20.  Give  description  and  illustrative  sketch 
showing  the  method  of  joining  a  curve  to  a 
straight  line  by  a  smaller  curve. 

21.  Give  illustrative  sketch  showing  a  straight 
line  cutting  a  circle  and  joined  by  small  curves  on 
the  inside,  and  description  how  to  obtain  same. 

22.  Give  illustrative  sketch  showing  two  given 
parallel  straight  lines  which  are  to  be  joined  by  an 
ogee  or  reversed  curve,  and  description  how  to 
obtain  same. 

23.  Describe  how  to  draw  a  "Scotia"  or  cove 
and  give  an  illustrative  sketch  of  same. 

24.  Describe  another  method  of  getting  a 
deeper  moulding  and  give  an  illustrative  sketch 
of  same. 

25.  Describe  how  to  draw  an  "echinus"  or 
ovolo,  and  give  an  illustrative  sketch  of  same. 

26.  Describe  how  to  draw  the  moulding  called 
a  "quirked  ovolo"  and  give  illustrative  sketch  of 
same. 

27.  Describe  how^  to  draw  the  hyperbolic  ovolo 


266  ARCHITECTURAL  DRAWING  SELF  TAUGHT 

of   the   Grecian    Doric  "capital,   and   give   an   illus- 
trative sketch  of  same. 

28.  Describe  how  to  draw  a  cove  or  "cavetto 
moulding"  and  give  illustrative  sketch  of  same. 

29.  Give  another  method  of  describing  the 
"cavetto  mould"  with  illustrative  sketch  of  same. 

30.  Describe  how  to  draw  the  "cyma  recta" 
moulding  with  illustrative   sketch  of  same. 

31.  Describe  how  to  draw  a  "cyma  recta" 
formed  by  two  opposite  curves,  shown  by  the  use 
of  ordinates. 

32.  Describe  how  to  draw  a  "cyma  recta" 
formed  with  true  elliptical  quadrants. 

33.  Describe  one  of.  the  simplest  methods  of 
forming  an  ellipse,  and  give  illustrative  sketch  of 
same. 

34.  Describe  how  to  form  an  ellipse  by  using 
the  trammel,  and  give  illustrative  sketch  of  same. 

35.  Describe  how  a  figure  that  approximates 
an  ellipse  may  be  formed  by  using  the  compasses 
and  give  an  illustrative  sketch  of  same. 

36.  Give  a  description  how  to  form  a  diamond 
or  lozenge-shaped  figure  with  illustrative  sketch 
of  same. 

37.  Give  description  of  how  to  draw  a  scroll 
by  using  two  lead  pencils. 

38.  Give  description  how  to  form  a  figure  that 
corresponds  somewhat  to  the  spiral,  and  give  il- 
lustrative sketch  of  same. 

39.  Give  description  how  to  form  squares  with- 


ARCHITECTURAL  DRAWING  SELF  TAUGHT  267 

in  larger  squares,  the  lines  being  equidistant  from 
each  other,  with  illustrative  sketch. 

40.  Give  a  description  how  to  manipulate  the 
pen  and  ink  in  finishing  the  drawings  with  India 
ink. 

41.  Give  a  description  how  to  mark  off  dimen- 
sions on  a  drawling. 

42.  Give  description  how  to  use  the  lead  pencil 
in  drawing,  and  the  different  kinds  for  use  in  their 
respective  purposes, 

43.  Give  a  description  how  to  make  out  "rough 
sketches"  of  any  size  and  without  reference  to 
scale  or  regard  to  exactness,  and  give  illustrative 
sketch  of  the  ground  plan  of  a  house. 

44.  Give  a  description  of  how  to  lay  off  a 
*'scale"  for  the  drawings. 

,  45.  Give  description  and  illustrative  sketch 
showing  how  to  lay  off  the  "cellar  plan"  of  a 
house. 

46.  Give  description  and  illustrative  sketch 
showing  how  to  lay  off  the  "first  floor  plan"  of  the 
house. 

47.  Give  description  and  illustrative  sketch 
showing  how  to  lay  off  the  "attic  plan"  of  the 
house. 

48.  Give  description  and  illustrative  sketch 
showing  an  "end  elevation  and  section"  of  the 
house. 

49.  Give  description  of  "footings"  for  founda- 
tions and  illustrative  sketch  of  same. 


268  ARCniTECTUR.\L.  DRAWING  SELF  TAUGHT 

50.  Give  description  and  illustrative  sketch 
showing  "square  rubble"  work  in  a  wall. 

51.  Give  description  and  illustrative  sketch 
showing  "irregular  rubble,  rustic  work  or  field 
stone  masonry." 

52.  Give  description  and  illustrative  sketch  of 
"block  course"  masonry. 

53.  Give  a  description  of  "ashler  masonry"  and 
illustrative  sketch  showing  plain  ashler  masonry. 

54.  Give  a  drawing  of  the  end  section  of  a  single 
brick  or  9-inch  wall,  with  a  two  brick  or  18-inch 
footing. 

55'.  Give  a  drawing  of  the  section  of  a  brick  and 
a  half  or  14  inch  wall,  with  4  courses  of  brick  work 
in  footings. 

56.  Give  an  explanation  of  what  is  meant  by 
"bond  or  bonding"  in  brick  work. 

57.  Give  an  explanation  of  what  is  meant  by  dT 
straight  joint  in  brick  work. 

58.  Give  a  few  advantages  that  are  obtained 
by  using  a  good  bond  in  building  stone  or  brick 
walls. 

59.  Give  a  description  of  what  is  meant  by  the 
term  "running  bond"  in  ordinary  work. 

60.  Give  a  description  of  what  is  meant  by  the 
term  'English  bond"  used  in  building  brick  work. 

61.  Give  a  sketch  of  "running  bond"  in  brick 
work  showing  the  "bats"  or  closers  required  to  fill 
out  the  courses. 

62.'  Give  a  sketch  showing  the  several  styles  of 
laying  bricks,  and  consisting  of  a  brick  wall  hav- 


ARCHITECTUR.U.  DRAWING  SELF  TAUGHT  269 

ing  a  window  with  stone  sill,  also  gothic  shaped 
arch  filled  in  with  "herring-boned"  brick  building 
over  window. 

63.  Give  a  description  and  sketch  showing  how 
a  semi-circular  arch  may  be  used  in  brick  or  stone 
walls. 

64.  Give  a  description  of  what  is  meant  by  "the 
span"  of  an  arch,  also  the  "springing  points"  and 
"abutment." 

65.  Give  a  description  of  wdiat  is  meant  by  the 
"rise,"  "height"  or  versed  sine  of  an  arch. 

66.  Give  a  description  of  the  "springing  line" 
of  an  arch. 

67.  Give  a  description  of  the  "crown"  of  an 
arch. 

68.  Give  a  description  of  what  is  meant  by  the 
term  "Voussoirs"  of  an  arch. 

69.  Give  a  description  of  what  is  meant  by  the 
term  "the  keystone"  of  an  arch. 

70.  Give  a  description  of  what  is  meant  by  "the 
intrados  or  soffit"  of  an  arch. 

71.  Give  a  description  of  what  is  meant  by  "the 
extrados  or  back"  of  an  arch. 

72.  Give  a  description  of  what  is  meant  by  "the 
thrust"  of  an  arch. 

71).  Give  a  description  of  what  is  meant  by  "the 
joints"  of  an  arch. 

74.  Give  a  description  of  what  is  meant  by  "the 
bed"  of  an  arch. 

75.  Give  a  description  of  what  is  meant  by  "a 
rampart  arch." 


270  ARCHITECTURAL.  DRAWING  SELF  TAUGHT 

76.  Give  a  description  of  what  is  meant  by  "a 
straight  arch  or  plat-band." 

77 .  Give  a  sketch  of  a  segmental  arch  drawn 
from  two  centers  and  describe  how  the  joints  for 
brick  or  stone  work  may  be  laid  out  around  this 
arch. 

v. 

78.  Give  a  sketch  of  a  Tudor  arch  drawn  from 
three  centers,  and  give  description  how  it  may  be 
struck. 

79.  Give  a  description  and  sketch  of  an  elliptical 
arch. 

80.  Give  a  description  how  to  draw  a  lancet 
arch,  and  illustrative  sketch  of  same,  » 

81.  Give  a  description  how  to  draw  an  equilat- 
eral Gothic  arch,  and  illustrative  sketch  of  same. 

82.  Give  description  of  how  to  set  out  "gauged 
arches"  in  brick  work. 

83.  Give  a  description  how  to  draw  an  "equilat- 
eVal  ogee  arch"  and  give  illustrative  sketch. 

84.  Give  a  description  how  to  draw  a  "flat  ogee 
arch,"  and  give  illustrative  sketch. 

85.  Give  a  description  how  to  draw  the  horse- 
shoe or  Moorish  arch,  and  give  illustrative  sketch 
of  same. 

86.  Give  a  description  how  to  draw  a  Gothic 
horseshoe  arch,  and  give  illustrative  sketch  of 
same. 

87.  Give  a  description  of  what  are  termed 
gauged  straight  arches,"  and  an  illustrative  sketch 
of  same. 

88.  Give    a    description    of   what    is    termed    a 


ARCHITECTURAL,  DRAWING  SELF  TAUGHT  271 

"French"  or  "Dutch"  arch,  and  give  an  illustrative 
sketch  of  same. 

89.  Give  a  description  and  illustrative  drawing- 
showing  style  of  opening  where  the  head  of  window 
or  door  is  flat,  and  having  a  rubble  relieving  arch, 
a  stone  window  head  with  chamfers,  the  face  of  the 
window  all  of  dressed  stone,  while  the  walls  are 
formed  of  irregular  stone. 

90.  Give  illustrative  drawings  of  the  following 
forms  of  arches,  namely,  "a  semi  circular  arch,"  an 
"elliptical  arch,"  an  "equilateral  arch,"  the  "lancet 
arch,"  the  "drop  arch,"  the  "segmental  Gothic 
arch,"  the  "ogee  arch,"  the  "Tudor  arch ;"  also 
three  forms  of  the  "trefoil"  or  three-lobed  arch,  one 
of  the  cinquefoil  or  five-lobed  arch,  and  one  of  the 
"polyfoil"  or  many-lobed  arch. 

91.  Give  a  description  and  illustrative  sketches 
necessary  to  show  a  door  and  casings  in  a  brick  wall 
with  jambs,  linings,  grounds,  and  other  finishings. 

92.  Give  a  description  and  illustrative  sketch 
showing  the  vertical  section  of  a  window  and  frame 
for  a  brick  house,  also  the  internal  elevation,  and 
plan  showing  the  shutters,  box  splayed  from  the 
wall. 

93.  Give  a  drawing  showing  an  inside  door  and 
casing. 

94.  Give  a  drawing  showing  a  "sliding  door" 
with  finishings. 

95.  Give  a  drawing  showing  a  section  and  ele- 
vation of  trim  for  a  door,  with  style  of  finish  called 
"block  finish." 


272  ARCHITECTURAL  DRAWING  SELF  TAUGHT 

96.  Give  a  drawing  which  exhibits  a  corner  of 
a  balloon  frame,  showing-  the  manner  of  jilacing  the 
studs,  corner  boards  and  other  finish. 

97.  Give  a  few  illustrative  examples  of  how  to 
draw  internal  squares,  "lozenge"  or  "diamond 
shaped  figures,"  also  a  diagonally  set  square  for 
Gothic  balustrade. 

98.  Give  illustrative  sketches  showing  a  design 
having  six  sides  which  is  often  employed  in  decora- 
tion and  in  Gothic  architecture. 

99.  Give  a  drawing  which  represents  a  per- 
forated balustrade  or  parapet  of  Gothic  architec- 
ture. 

100.  Give  a  more  complicated  figure  in  which 
the  octagon  forms  the  basis  of  the  combination, 
and  describe  how  it  is  drawn. 

101.  Give  an  illustrative  example  formed  of 
squares  and  half  squares,  and  show  how  "squares" 
may  be  placed  so  as  to  exhibit  stars  or  other 
pointed  ornaments. 

102.  Give  an  illustrative  example  of  what  may 
be  termed  a  basket  pattern  formed  of  interlacing 
straps. 

103.  Give  an  illustrative  example  of  how  to 
draw  an  ornamented  design  of  strapwork  feet. 

104.  Give  an  illustrative  example  of  a  design 
having  a  combination  of  curves  and  straight  lines. 

105.  Give  an   illustrative   example  of  a  design    ' 
having  the  simplest  forms  of  running  Greek  fret. 

106.  Give  an  illustrative  example  of  another 
style  of  fret,  partaking  somewhat  of  the  arabesque. 


AECHITECTURAL  DRAWING  SELF  TAUGHT  273 

107.  Give  an  illustrative  example  of  a  design  in 
which  combination  of  circles  may  be  used  for  orna- 
mental purposes. 

108.  Give  a  description  and  illustrative  example 
of  a  design  where  parts  of  circles  and  straight  lines 
are  used  in  order  to  form  the  ornament. 

109.  Give  a  description  and  illustrative  example 
of  a  design  for  a  baluster. 

110.  Give  a  description  and  illustrative  example 
of  an  urn-shaped  ornament. 

111.  Give  a  description  and  illustrative  example 
of  how  to  draw  a  "Guilloche"  or  chain  ornament. 

112.  Give  a  description  and  three  illustrative 
examples  of  "running  scrolls." 

113.  Give  an  illustrative  example  of  how  to 
draw  an  ornamental  moulding  adapted  for  w^ood 
carving,  and  which  gives  the  pattern  and  half  the 
repeat. 

114.  Give  a  drawing  of  what  is  termed  the 
"Echinus,"  the  egg  and  tongue,  or  Qgg  and  dart 
moulding. 

115.  Give  a  drawing  of  the  Greek  astragal, 
chaplet,  or  knuckle-bone  ornament. 

116.  Give  a  drawing  showing  the  Greek  con- 
vential  lily  form  as  its  characteristic. 

117.  Give  a  drawing  showing  what  is  termed 
the  Greek  "Anthemion"  ornament, 

118.  Give  a  drawing  showing  a  purely  Egyp- 
tian ornament  composed  of  the  open  lotus  flower 
and  the  bud. 

119.  Give   a   drawing:   of   a   circular   or   rosette 


274      ARCHITECTURAL  DRAWING  SELF  TAUGHT 

ornament,   which   is   formed   of  a   circle   and   four 
lotus  flowers. 

120.  Give  a  drawing  showing  a  conventional 
form  of  the  lotus  in  a  more  finished  and  elaborate 
state. 

121.  Give  a  drawing  showing  a  Roman  border 
composed  of  curved  and  straight  lines. 

122.  Give  a  drawing  of  the  scroll  border  of  the 
Byzantine  style  of  architecture. 

123.  Give  a  description  of  what  is  meant  by 
the  term  "Order"  in  architecture,  and  the  sub- 
divisions which  compose  the  complete  order;  also 
the  names  given  to  the  different  "orders." 

124.  Give  a  description  and  illustrated  example 
of  the  "Tuscan  order"  showing  the  several  parts  of 
which  it  is  composed. 

125.  Give  a  description  and  illustrative  example 
of  the  "Doric  order"  showing  the  several  parts  of 
which  it  is  composed. 

126.  Give  a  description  and  illustrative  example 
of  the  "Ionic  order,"  showing  the  several  parts  of 
which  it  is  composed. 

127.  Give  a  description  and  illustrative  example 
of  the  "Corinthian  order,"  showing  the  several 
parts  of  which  it  is  composed. 

128.  Give  a  description  of  the  "Composite  or- 
der" or  what  is  sometimes  termed  the  Roman 
Corinthian,  showing  the  several  parts  of  which  it 
is  composed. 

129.  Give  illustrative  examples  of  seven  styles 


ARCHITECTTJR^y-.  DRAWING  SELF  TAUGHT  2  /  O 

of  "letters"  used  by  draftsmen  and  for  which  parts 
of  the  drawings  they  should  be  adopted. 

130.  Give  a  description  as  how  to  prepare  "col- 
ors," and  their  adaptation  for  the  several  purposes 
in  cgloring  drawings,  and  describe  the  colors  used 
in   designating   the    following:  "Brass    Banks" 

(steep),  "Bricks"  (blue),  "Bricks"  (red),  "New 
Brickwork,"  "Old  Brickwork,"  "Brick  or  Stone 
Buildings,"  "Wood,"  "Castiron,"  "Chain-eleva- 
tion," "Concrete,"  "Copper,"  "Earth,"  "Electric 
belt-wires,"  "Fields  and  vacant  lands,"  "Fir  and 
deal"  (rough),  "Footpaths"  (flagged),  "Glass" 
''Glass  Roofs,"  "Granite,""Greenheart,""Gun-met- 
al,"  "Lead,"  "Leather,"  "Mahogany,"  "Meadows 
and  Cultivated  Grass,"  "Oak,"  "Pine  and  Spruce" 
(wrought),  "Cold  water  pipes,"  "Hot  water  pipes," 
"Rain  water  pipes,"  "Soil  pipes,"  "Plaster  and  ce- 
ment," "Railways,"  "Rope,"  "Rosewood,"  "Sewers 
and  drains,"  "Skies"  (in  perspectives),  "Slate  eleva- 
tions and  sections,"  "Steel  elevation  and  section," 
"Stone,"  "Stone  Dressings,"  "Streets"  (paved), 
"Timber  (existing)  elevation  and  section,"  "Win- 
dows, outside  elevation  and  section,"  "Wrought 
iron"  for  elevation  and  section  and  rough  material, 
"York  and  soft  stone"  for  elevation  and  section, 
"Zinc"  for  elevation  and  section. 

13L  Give  a  description  of  the  adaptation  of 
"shading"  to  the  several  parts  of  the  drawings,  and 
illustrative  examples  of  same. 

132.  Give  illustrated  examples  on  one  sheet, 
showing    four    different    methods    of    illustrating 


276  .VRCIIITECTURAL  DRAWING  SELF  TAUGHT 

room  plans,  also  2  roof  plans,  one  plan  showing 
porch,  3  plans  showing  roofs,  2  plans  showing 
stairs,  2  sketches  of  bathroom,  plan  showing  fire- 
places; also  plan  for  pantry,  sink,  etc. 

133.  Give  illustrated  plan  of  a  cottage,  show- 
ing foundation,  first  floor  and  second  floor. 

134.  Give  illustrated  plan  showing  side  frame 
of  the  small  cottage,  with  all  the  openings  for  win- 
dows, also  two  sections  of  the  framework,  with 
the  heights  marked  on  for  the  different  stories 
and  sizes  of  timbers. 

135.  Give  illustrated  sketch  showing  the  dispo- 
sition of  the  joists  in  first  and  second  stories,  also 
the  position  of  rafters  and  ridges  on  the  roof,  and 
the  trimmers  for  fireplace  and  stairs. 

136.  Give  illustrated  sketch  showing  the  front 
and  side  elevation  of  the  cottage  in  finished  order 
(in  two  styles  of  drawing,  one  in  plain  line  and  the 
other  shaded). 

137.  Give  an  illustrated  sketch  showing  some 
details  of  the  porch,  and  giving  the  construction  of 
cornice  and  other  work. 

138.  Give  an  illustrated  sketch  showing  a  por- 
tion of  cornice  and  roof  of  main  building,  also  the 
construction  with  roof  boards  and  shingles,  and  the 
finished  portion  of  roof  and  cornice. 

139.  Give  an  illustrated  sketch  showing  the 
outside  of  a  plain  window  frame,  a  door  frame, 
corner  board,  and  a  sectional  elevation  of  sash  and 
frame. 

140.  Give  an  illustrated  sketch  showing  three 


ARCHITECTURAL  DRAWING  SELF  TAUGHT  277 

examples  of  inside  finish — a  door,  a  window,  and 
sliding  door — opening  with  trim. 

141.  Give  an  illustrated  sketch  showing  portion 
of  elevation  and  section  of  trim  head,  also  section 
of  casing,  picture  frame  mould,  plinth  block,  base 
and  floor  step. 

142.  Give  an  illustrated  sketch  showing  the 
four  styles  of  doors  to  be  used  in  the  cottage. 

143.  Give  an  illustrated  sketch  showing  a  por- 
tion of  the  stairs,  complete  and  under  construction. 
The  newel  post  and  balusters  plain  and  chamfered, 
and  the  bottom  step  rounded  off  at  the  newel. 

144.  Give  an  illustrated  sketch  showing  a  man- 
tel in  elevation  and  section,  also  a  plan  of  the 
shelf  with  construction  lines. 

145.  Give  an  illustrated  sketch  showing  an  ele- 
vation for  a  cheap  book-case  suited  for  the  cottage 
under  consideration,  also  the  end  elevation  show- 
ing the  face  of  drawers  laid  off,  and  a  drawing  for 
a  box  stall. 

146.  /Give  an  illustrated  sketch  showing  a 
kitchen  and  students'  desk  (for  twelve  students). 

147.  Give  an  illustrated  sketch  showing  sec- 
tions and  plans  of  windows  for  wood  and  for  brick 
buildings,  with  weights  where  the  mullion  is  nar- 
row and  will  not  admit  of  two  weights  passing 
each  other, — one  section  showing  the  manner  of 
constructing  the  angle  of  a  bay  window  where 
boxes  and  weights  are  required. 

148.  Give  an  illustrated  sketch  showing  a  base- 
ment window  in  a  stone  wall,  the  elevation  show- 


278  ARCHITECTURiU.  DRAWING  SELF  TAUGHT 

ing  the  outside  of  the  window,  and  the  section  ex- 
hibiting the  manner  of  constructing  the  frame  and 
placing  the  sashes. 

149.  Give  an  illustrated  sketch  showing  two 
elevations  and  sections  of  windows,  one  designed 
for  wooden  buildings,  and  the  other  for  brick 
buildings,  also  showing,  the  vertical  sections  of 
frames  and  sashes  and  the  manner  of  constructing 
the  sills,  and  segmental  head  over  window. 


6^What  our  Plans  Consist 


ALL  OF  OUR  PLANS  are  accurately 
drawn  one-quarter  inch  scale  to  the 
foot. 

We  use  only  the  best  quality  heavy 
Gallia  Blue  Print  Paper  No.  loooX,  taking  every 
precaution  to  have  all  the  blue  prints  of  even 
color  and  every  line  and  figure  perfect  and 
distinct. 

We  furnish  for  a  complete  set  of  plans  : 

FRONT  ELEVATION 

REAR  ELEVATION 

LEFT  ELEVATION 

RIGHT  ELEVATION 

ALL  FLOOR  PLANS 

CELLAR  AND  FOUNDATION  PLANS 

ALL  NECESSARY  INTERIOR  DETAILS 

Specifications  consist  of  several  pages  of 
typewritten  matter,  giving  full  instructions  for 
carrying  out  the  work. 

We  guarantee  all  plans  and  specifications 
to  be  full,  complete  and  accurate  in  every  par- 
ticular. Every  plan  being  designed  and  drawn 
by  a  licensed  architect. 

Our  equipment  is  so  complete  that  we  can 
mail  to  you  the  same  day  the  order  is  received, 
a  complete  set  of  plans  and  specifications  of 
any  house  illustrated  herein. 

Our  large  sales  of  these  plans  demonstrates 
to  us  the  wisdom  of  making  these  very  low 
prices. 

ADDRESS  ALL  ORDERS  TO 

FREDERICK  J.  DRAKE  &  CO. 

Architectural  Department 
CHICAGO.  ILL. 


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ARCHITECTURAL  DRAWING 

INDEX 

A 

Page 

A  dvice  to  draftsmen   12 

Advice  to  Young  Men 13 

Advantage  of  knowing  how 14 

A  box  of  instruments •. 35 

American  instruments  39 

Attic  plan  for  brick  cottage Ill 

Ashler  work 118 

Arch  over  window 126 

A  rampart  arch 131 

A  straight  arch 131 

Arches  of  various  kinds 146 

Arabesque  fretwork 172 

Anthemion   185 

A  wrought  iron  design 213 

A  circular  ornamental  design 215 

Arrangement  of  flutes  and  fillets 222 

Arrangement  of  Doric  order 228 

Advice  to  student 241 

Alphabets 246 

A  method  of  hatching  showing  materials 258 

A  parting  word 262 

B 

Beam  compasses   31 

Brown's  ellipsograph 34 

Bow  pens  and  pencils 43 

Boxwood  scales 46 

Brick  cottage  plans 108 

Brick  foundations 114 

Blocked  coursed  work 118 

Bond  in  brickwork 119 

Brick  courses     120 

Brickwork  generally 121 

Bonding  in  9-inch  walls 122 

Bed  o-f  arch 130 

Brick  and  stone  arches 145 

Box  frame  weights 162 

Balusters 1 75 

Barge  boards 179 

Border  mouldings 183 

Border,  Egyptian  style 186 


ESTDEX 

Page 

Border,  Byzantine  style 189 

Byzantine  Rosette 189 

Balustrades 202 

Balconv 209 

Block  letters 246 

Blue  prints 261 

C 

Cheap  drawing  boards 19 

Cartridge  paper 20 

Cleaning  pen 53 

Circular  ornaments 60 

Circular  segments 61 

Curves  of  various  grades 63 

Circles  and  straight  lines  mixed 67 

Curved  mouldings 68 

Compass  drawn  scrolls 85 

Cutting  lead  pencils 93 

Cellar  plan  for  cottage 108 

Crown  of  arches 129 

Casings  for  door  and  window  finish 158 

Cornice  for  frame  building 159 

Cornice  for  brick  building 161 

Curved  and  straight  lines 162 

Complicated  fret  work 173 

Chain  moulding 1 77 

Continuous  moulding 177 

Curved  line  ornaments , 178 

Cut  scroll  work 179 

Conventional  flower 184 

Conventional  lotus 186 

Cut  Gothic  border 190 

Cinquefoil  Gothic  ornament 193 

Curves  for  cut  work 198 

Cut  work  for  barge  boards,  etc « 199 

Carvers'  ornanaents 200 

Cut  work  for  balustrades 202 

Columns 219 

Columns,  fluted 220 

Columns  with  fillets 221 

Columns  with  fillets  and  reeds 223 

Corinthian  order  of  architecture 236 

Column  and  section,  Corinthian 237 

Colors  used  in  drawings 249 

Colors  representing  materials 254 

D 

Drawing  boards.  How  to  make 18 

Drawing  board  grooved 19 

Drawing  paper 30 


INDEX 

Page 

Damp-stretching 22 

Drawing  table 24 

Drawing  pens 38 

Drawing  lines 53 

Drawing  circles 54 

Drawing  concentric  curves 55 

Drawing  eccentric  curves 55 

Drawing  circular  ornaments 57 

Drawing  variable  curved  ornaments 58 

Doric  mouldings 73 

Describing  ellipses  by  aid  of  trammel 78 

Dotted  line  work 88 

Dimension  lines ....     92 

Different  grades  of  pencils 99 

Drawing  arches 127 

Doorway  entx'ance 151 

Diagonals  and  squares 164 

Drops  for  porches  and  verandas 24^ 

Drops  for  balcony 20&^ 

Drawings  for  iron  work 213 

Drawing  sections  of  fluted  columns 220 

Dividing  circumferences  of  columns 221 

Drawing  of  Tuscan  order 226 

Doric  order  of  architecture 228 

Drawing  the  Doric  order 228 

Design  of  Ionic  capital  and  entablature 234 

Designs  for  letters 244 

Description  of  colors 250  ' 

Defining  use  of  colors 253 

E 

Ellipsograph 33 

Ellipsograph  illustrated 34 

English  drawing  instruments 39 

Elliptical  mouldings 76 

Elliptical  curves  by  string 77 

Elliptical  curve  by  trammel 78 

Egg  shaped  figures,  How  to  draw  them ».  82 

Examples  in  line  work 86 

Erasions 98 

End  elevations  and  section  of  cottage 113 

English  bond  of  brickwork 124 

Elevation  of  brickwork 125 

Extrados  of  arches 129 

Elliptical  arches  in  brickwork 184 

Elevation  of  doorway 151 

Elevation  of  window 153 

Elevation  of  inside  door  and  finish 155 

Egyptian  ornament 180 

Elaborated  scroll 182 


INDEX 

Pass 

Egg  and  dart 183 

Echinus   183 

Egyptian  lotus  border 186 

Elaborate  tracery 197 

Eave  boards 207 

Elliptical  wrought  iron  scroll , 213 

Elliptical  ornamentation 216 

Entasis  of  columns 225 

Elevation  of  Tuscan  order 226 

Elevation  of  Doric  order 228 

Elevation  of  Composite  order 230 

F 

Free-hand  drawing 14 

French  curves 26 

Flat  scales  30 

Figured  plans 105 

Floor  plans  for  cottage 110 

Front  elevation  of  brick  cottage 112 

Foundation  footings 114 

Fourteen-inch  brick  wall 125 

Flat  arches  in  brickwork 141 

Finish  of  inside  door 155 

Fret  work 171 

Figured  ornaments 175 

Finished  scroll  work 179 

Fence  boards,  ornamental 211 

Fluting  columns 218 

Flutes  and  fillets 221 

Figures  for  drawings 242 

Flowing  of  colors 250 

G 

Good  tools 17 

Greek  mouldings 69 

Gothic  brick  arches 134 

Gothic  arches  generally 135 

Gothic  ogee  arches 138 

Gothic  arches  of  various  kinds 146 

Gutter  and  cornice 159 

Gutter  and  cornice  open 161 

Gothic  perforated  work 166 

Greek  fret  work 171 

Greek  lily 184 

Greek  anthemim 185 

Gothic  ornament  in  border. 190 

Gothic  tracery 194 

Greek  Ionic 288 


INDEX 

PAOB 

H 

Hard  rubber  scales 49 

Handy  method  of  dra»ving  scrolls 84 

Hatching  lines 89 

How  to  hold  the  lead  pencil 95 

Herring  bone  brickwork 126 

How  to  describe  an  elliptical  arch  134 

Horseslioe  arches 139 

Horseshoe  arches  of  several  styles 146 

Hexagon  ornament 167 

Handling  brushes  in  coloring 251 

Hatching,  showing  materials  , 258 

I 

Introduction 11 

Instruments  in  Morocco  case 38 

Instruments  in  wooden  box 37 

Inserting  ink  in  pen 51 

Ink  brush 52 

Inking  in 52 

Inking  lines 53 

Intrados  of  arches 129 

Inside  shutter  finish 152 

Inside  window  finish 153 

Inside  finish  of  sliding  doors 156 

Introduction  to  the  order  of  architecture 218 

Ionic  mouldings 234 

J 

Joining  curves 66 

Joining  straight  lines  to  curved  lines 67 

Joints  in  masonry 119 

Joints  in  brickwork 120 

Joints  in  bonded  work  121 

Joints  in  arches 130 

Joints  shown  in  brick  arches 140 

Jam  b  in  section 151 

Joint  of  sliding  doors 157 

K 

Keystone  of  arch 129 

L 

Linework 86 

Linework  in  shade  and  shadow  88 

Laying  off  dimensions 91 

Lead  pencils  cut  to  shape 98 

Lancet  arches 136 

Lintels  of  stone 145 


INDEX 

Pagb 

Laying  out  diagonals 165 

Laying  out  hexagon  work 167 

Laying  out  turned  ornaments 175 

Laying  out  scrolls 178 

Lotus  ornamentations 186 

Laying  out  tracery 196 

Laying  out  cut  work 206 

Laying  out  flutes  of  columns .' 218 

Laying  out  fillets  and  flutes 221 

Laying  out  letters 243 

Lettering  generally 244 

Laying  on  of  colors 252 

M 

Manner  of  sharpening  pen 42 

Manner  of  closing  pen 43 

Mouldings 69 

Metliods  of  describing  Greek  mouldings 71 

Method  of  describing  ellipses 77 

Method  of  describing  arch 134 

Moorish  arches 139 

Moorish  arches  of  various  kinds 146 

Miscellaneous  arches 149 

Mixed  ornament 168 

Moorish  fret  work 173 

Mixed  Greek  ornament 174 

Mouldings  of  Tuscan  order 226 

Mouldings  for  Doric  order 228 

Modillions 238 

Miscellaneous  matters 241 

Making  of  letters 242 

Methods  of  coloring 250 

Mixing  colors 252 

Materials  shown  by  hatching 258 

Method  of  mixing  ink 260 

O 

Ornamental  curves 59 

Ornaments  from  circles 60 

Ovals 81 

Ornamental  line  work 87 

Ogee  arches 137 

Ogee  Tudor  arches 138 

Ogee  Gothic  arches 138 

Openings  in  stone  work 143 

Ornamental  Gothic  work 166 

Ornamental  cut  work 199 

Ornamental  balustrades 205 

Ornamental  iron  work 215 

Order  on  architecture 223 


INDEX 

Pagb 

Open  letters 244 

Old  style  letters 245 

P 

Preface 2 

Paper  tacks 21 

Prices  of  drawing  pens 39 

Pens,  with  and  without  ink 51 

Proper  method  of  holding  pen 90 

Position  of  hand  when  drawing 95 

Pencil  lines  and  erasions 97 

Preliminary  rough  sketches 102 

Plans  in  part 105 

Plan  of  cellar. 108 

Plan  of  courses  in  brickwork 125 

Plan  of  details 150 

Pocket  for  sliding  doors 157 

Plan  of  pocket  for  sliding  doors 157 

Perforated  stone  work 166 

Panel  work  in  fret 201 

Pickets  for  ornamental  fence 211 

Proportions  for  Tuscan  order 226 

Proportions  of  Doric  order 228 

Plan  and  elevation  of  Ionic  column 234 

Plan  and  elevation  of  Corinthian  order 236 

Proportion  of  Composite  order 239 

Proportion  of  letters 243 

Preparing  paper  for  coloring 249 

Preparing  colors 252 

Preventing  ink  from  "creeping" 260 

Q 

Quatrefoil   191 

Quatereal  columns 218 

R 

Roman  mouldings 70 

Rubber  for  erasing 98 

Rough  sketches 100 

Rough  sketches  figured 102 

Rough  sketches  of  details 103 

Random  rubble  work 116 

Rough  stone  work 116 

Rubble  work  coursed 116 

Rustic  stone  work 117 

Running  bond  in  brickwork 123 

Rubble  arches 146 

Rosette,  Egyptian 186 

Roman  border 187 


INDEX 

Pagb 

Roman  Rosette 188 

Roman  ornament 188 

Running  elliptical  ornament 216 

Roman  Ionic  order 233 

Runic  letters 245 

Retouching  colored  drawings 252 

Rough  shading 259 

Reissman's  "Blue  print  making" 261 

S 

Set  squares 26 

Swivel  squares 28 

Straight  edges 29 

Scale-triangular 30 

Splices 38 

Swiss  drawing  instruments 38 

Steel  scales 47 

Showing  various  curves 63 

Scrolls,  how  to  draw  them 83 

String  and  pencil . .  , 84 

Sharpening  lead  pencils  properly 94 

Sketches  of  windows 104 

Scale  for  work 107 

Section  of  brick  cottage 113 

Side  elevation  of  cottage 113 

Stone  foundation 114 

Stone  walls 115 

Squared  stone  work 119 

Semi-circular  arches .' 127 

Span  of  arches 129 

Spring  of  arches 129 

Segmental  arches 132 

Segment  of  Tudor  arches 132 

Semi-elliptical  arches 133 

Stone  arches  with  offsets 143 

Segmental  Gothic  arches 147 

Section  of  door  jamb 151 

Shutter  linings 152 

Splay  of  window  jambs 154 

Section  of  window  jamb  and  finish 154 

Sliding  doors 156 

Section  of  sliding  door  pocket 156 

Section  of  corner  studs 158 

Section  of  window  finish 158 

Section  of  cornice 159 

Section  of  cornice  for  brief  building 161 

Section  for  box  frame 162 

Section  for  window  sill 162 

Straight  and  curved  lines 163 

Squares  and  diagonals 164 


INDEX 

Page 

Straight  line  ornamentation 169 

Strap  work 170 

Star  work 170 

Scroll  work 178 

Scroll  work  for  carvers 200 

Scroll  work  on  elliptical  plan 216 

Something  on  architectural  orders 218 

Sections  of  columns " 219 

Section  of  Doric  order 228 

Sections  of  Ionic  order 234 

Single  line  letters 245 

Shaded  letters  and  figures 247 

Stone,  wood  and  iron  shown  by  colors 257 

Shading  for  different  forms 259 

T 

Thumb  tacks 21 

Tee  squares 25 

Trammel 31 

Tne  drawing  pen  discussed i  41 

Triangles 47 

The  lead  pencil , 93 

lee  square  and  pencil 95 

Thrust  in  arches 130 

Tudor  arch 132 

Tudor  arclies  of  various  kinds 148 

Tiles  and  diagonals 166 

Trefoil  ornament 173,  191 

Turned  ornaments 1 75 

Tracery 194 

The  Tuscan  order  of  architecture 225 

Tlie  Grecian  Doric 2:J() 

The  Ionic  order  of  architecture 234 

The  Corinthian  order  of  architecture 238 

The  Composite  order  of  architecture 239 

The  use  of  colors  in  drawing 249 

Tints  in  coloring 252 

U 

Use  of  bow-pen  and  pencil 44 

Uses  of  pencils  generally 4^^ 

Urns 3  7? 

Use  of  colors  in  drawings ?4? 

Use  of  hair  pencils  for  coloring 252 

Use  of  heavy  ink  lines 260 

V 

/  ariable  curves 27 

Various  mouldings 76 


INDEX 

Vertical  measurements 106 

Voussoirs .'.....'.'  129 

Versed  sine  of  arches 129 

Various  arches 146 

Verge  boards 179 

Veranda  cut  work 202 

Volutes  in  Ionic  order 237 

Various  letteri 244 

'  W 

Walls  of  stone 114 

Walls  of  brick 114 

Window  openings  in  brick  walls 143 

Window  linings 152 

Window  frame  with  weights 162 

Window  finish  at  sill 162 

Wave  mouldings 177 

Wave  scrolls 178 

Work  for  balconies 202 

What  materials  are  represented  by  colors 265 


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